Embroidery Stitches Step-by-Step 9780241201398

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Embroidery Stitches S T E P BY S T E P

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Embroidery Stitches S T EP BY S T EP

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Lucinda Ganderton

Dedicated to the memory of Mary Josephine Ganderton, my mother and my inspiration Senior Editor: Mary Lindsay Senior Art Editor: Sarah Hall Production Controller: Michelle Thomas DTP Designer: Jason Little Managing Editors: Stephanie Jackson, Jonathan Metcalf Managing Art Editor: Nigel Duffield Jacket Designer: Nicola Powling Produced by C&B Packaging Ltd London House, Great Eastern Wharf Parkgate Road, London SW11 4NQ Managing Editor: Kate Yeates Editor: Heather Dewhurst Art Director: Roger Bristow Art Editor: Helen Collins Designers: Suzanne Metcalfe-Megginson, Bill Mason Photography: Sampson Lloyd First published in Great Britain in 1999 This edition published in Great Britain in 2015 by Dorling Kindersley Limited, 80 Strand, London, WC2R 0RL Copyright © 1999, 2015 Dorling Kindersley Limited A Penguin Random House Company Text copyright © 1999, 2015 Lucinda Ganderton The moral right of Lucinda Ganderton to be identified as the author of this book has been asserted. 10 9 8 7 6 5 4 3 2 1 001-280243-June/2015 All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise) without the prior written permission of the copyright owner.

Contents

Introduction .........

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6 .........

How to Use This Book 9 ......... .........

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Materials, Tools, and Techniques 10 .........

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Tools, Fabrics, Threads, and Frames 12 Mounting Techniques 17 Stitching Techniques 18 ......... .........

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A CIP catalogue record for this book is available from the British Library. ISBN: 978-0-2412-0139-8 Printed and bound in China. Colour reproduction by Altaimage UK. All images © Dorling Kindersley Limited For further information see: www.dkimages.com A WORLD OF IDEAS: SEE ALL THERE IS TO KNOW

Gallery of Stitches .........

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22

Line and Border Stitches 36 .........

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Outline Stitches 38 Border Stitches 47 Composite Border Stitches 62 ......... .........

Openwork Stitches .........

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94

Pulled Fabric Stitches 96 Drawn Thread and Insertion Stitches 104 Cutwork and Edging Stitches 111 ......... .........

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Needlepoint Stitches .........

Filling Stitches .........

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70

Powdered Filling and Isolated Stitches 72 Open and Solid Filling Stitches 84 ......... .........

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116

Straight Needlepoint Stitches 118 Diagonal Needlepoint Stitches 128 Cross and Star Needlepoint Stitches 138 Looped and Tied Needlepoint Stitches 150 ......... .........

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Index and Acknowledgments 156 ......... .........

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6

In t r odu c t i on

Introduction

T

he art of embroidery has been defined simply as the ornamentation of textiles with decorative stitchery. It is an ancient craft which encompasses a wealth of history, and the same stitches are used by embroiderers throughout the world. They provide an international vocabulary that crosses the boundaries of land and time. Local patterns, designs, and ways of working vary from place to place, but the actual stitch techniques do not. The language of stitches is infinitely adaptable. It is being constantly reinterpreted by contemporary stitchers, who produce their new work as part of a continuing tradition.

international Heritage Sewing was once an essential part of daily life for most women, and some men. Before mass production, many clothes and items of domestic furnishing had to be made at home and embroidery evolved as a means of decorating and personalising the plain needlework used for household linens and garments. People in different countries concentrated on their own particular aspects of embroidery and names such as Bokhara couching, Antwerp edging, Portuguese border, and Algerian eye reflect the international aspect of the stitches they worked with. Creative concepts are always interchanged; patterns and ideas have travelled and developed throughout the world. German immigrants in Pennsylvania, for example, had to adapt their own traditional dense cross stitch patterns to outline-based designs, because of the shortage of embroidery threads in the New World.

Portrait oF a lady Fine silk threads in a subtle range of natural dyes were used to embroider this eighteenth century picture. Layers of straight stitches have been worked in many directions to build up the image.

Floral Border Long decorative bands, like this tent stitch pattern in bright Berlin wools, were worked by Victorian ladies and used to adorn cushions and throws.

Introduction

typeS of StitCh Embroidery stitches are worked on fabric, while needlepoint stitches are sewn on to canvas. Although there are hundreds of individual stitches used for both these techniques, they can be classified into just four groups, according to the way they are constructed: flat stitches which lie on the surface of the fabric; looped stitches, where one stitch is anchored by another; knotted stitches in which the thread is twisted back on itself to form a raised stitch, and openwork stitches which create a regular pattern of spaces, integrating the thread with the background fabric. uSinG StitCheS The various stitches within these four groups are endlessly adaptable and can be used in many ways, depending on the effect required. They can outline a design, be worked closely together so that they conceal the fabric completely, or be spaced further apart to allow the background to show through. Others may be used singly, repeated in rows, or stitched in a solid line. Certain stitches were developed for particular reasons. Gold thread is costly and too thick to pass easily through the fabric, so couching stitch was used to anchor it to the fabric with small stitches in fine thread. Turkey stitch evolved as an imitation of the cut pile of a rug, and insertion stitches were used as a means of joining two pieces of fabric. One single stitch may be used throughout a piece of work. Rows of tent and cross stitches are used to create both samplers and embroidered pictures, while straight stitch can be used randomly like a painter’s brushstrokes to build up a textured, three-dimensional surface. It is when the patterns and shapes of the various stitches are combined, however, that their full potential is realised. StitCh nameS For many centuries, knowledge of embroidery stitches was handed down as part of the wider folk tradition of needlecraft. It was not until 1631, when The Needle’s Excellency was printed, that their names began to be formalised in Europe. This was a book of patterns, Gold Slipper Straight stitch flowers in silk floss have been combined with gold thread couched in a swirling pattern to decorate this beautiful nineteenth century slipper top.

Country Garden This characteristic transfer design from the 1930s features plants worked with French knots, link, fly, and buttonhole stitches, and outlines in stem stitch.

7

8

In t r odu c t i on

not a practical manual, and there were no working diagrams or stitch illustrations. Some of the stitches listed – Fern-stitch, Chain-stitch, Back-stitch and the Crosse-stitch – are still in general use. Various other names were adopted over the following centuries. Some described the way in which the actual stitches were made, for example, twisted insertion and back stitch trellis. Others, such as cushion stitch, ladder stitch, window filling, and rope stitch, were named after the objects of daily life that they resembled. Still more were inspired by the surroundings of the natural world: star, wave, cloud, feather, coral, leaf, petal, and wheatear stitches. Needlework was not valued as a separate area of study until the late nineteenth century. Under the influence of the Arts and Crafts Movement, designers interested in the history of stitching set about examining embroidered fabrics, and even unpicked old examples from across the world to discover how they had been worked. New historical texts and instruction books were written, and the format and names of stitches were standardised for the first time.

Mirror, Mirror Shisha stitch, using tiny mirors, highlights the traditional chain stitch design of a contemporary Indian embroidery in silk rayon.

indian Patchwork Fragments of antique fabrics in metallic threads were salvaged and stitched together to make this hanging.

1

2

·········· Level A ··········· B Easy

directly below C

D

····· Other Names ····· Continental stitch; How diagonal tent stitchTo Us e

C

····· Other Names ····· ··········· Uses ············ ·········· Level ··········· Tete-de-boeuf stitch; Charts; printed canvases Intermediate ox-head stitch ········· Method ········· ··········· Uses ············ Ensure C is equidistant ·········· Level ··········· Small slanting stitches Backgrounds and fillings from A and B Intermediate Start at top left. Stitch over of ······· Materials ······· G allery ········· Method ········· The book is ············ dividedDouble intocanvas; six thick chapters. The first from 2A to one intersection, ············ Uses yarn StitcheS Tent stitch worked in 1B and 2B to 1C, then repeat filling;equipment, dealsPowdered with the threads, and fabrics at A. Insert the needle at B and 1 StartTip ············· ············· These pages provide diagonal a D rows to the end of the line. Begin isolated stitch bring it various out at C, passing over the working used for stitchery, and the techniques Turn work upside-down quick visual reference to the next row with 2F to 3E ······· Materials ······· thread.journey to stitch ········· Method for return involved. This········· is followed by the Gallery of to 3D. Repeat and 2E these all the stitches featured Single canvas; E any thread Link stitch worked over rows Make in samea direction loop and take the needle two rows todown continue. 2 library in the book. The name stitches, which of the 234 loose straight stitch is a visual at C. Come out at D, passing the needle

How to Use This Book

28

3

Gallery of Stitch es

Bullion Knot (p.76)

5

This Book

Starting at top right, make a stitch from 2E to 1F. Work the next row upwards from 3E to 2F and 2D to 1E and the third downwards from 2C to 1D, 3D to 2E and 4E to 3F. Begin the following row with 5E to 4F: continue working up, then down. Link (p.80)

Lazy Daisy (p.80)

Sword (p.77)

Ribbed Web (p.82)

Fly (p.78)

Tulip

2

Berry (p.80)

A

B

Stitch inStrUction chapterS A 80

1

A

B

1

B 2 D Powdered Filling and Isolat ed Stitches

C

D

E F

2

Crown (p.78)

C

D

E

F

G Buttonhole Wheel (p.82)

Sheaf Filling (p.78)

example

Tulip (p.81)

Ribbon Rose (p.82)

of each one is given, stitches featured. stitch instructions are the working thread. ······· Materials ·······Theover followed by the number Any fabric; any thread grouped into four chapters – Lines andatBorders, needle down E toneedle formbehind a Take two 3 Take the of the page where the Work each stitch short tie stitch p.20) to complete. threads to Filling Stitches, Openwork, and(see Needlepoint – make long instructions for working in same direction stitch on reverse side each of which has several sub-sections showing it can be found. the different types of stitches within the group.

Stitch

Sorbello (p.79)

Woven Spider Web (p.82)

Four-legged Knot (p.77)

1

9

D E F

Palestrina Knot (p.79)

Danish Knot (p.77)

Tent

A B

Picot (p.80)

1 2

Detached Wheatear (p.81)

Shisha (p.83)

3

E

D

Stitch variation Illustrates finished····· Other Name ····· Shows another stitch that ·········· Level ··········· Petit point appearance of stitch Intermediate is worked in a similar way ·········· Level ···········C Keep needle at an angle to the main stitch. other name ············ Uses ············ Easy right and sew a 1 Start at top A B Tie stitch In alternate rows as C Shows most common diagonal stitch from 2Fsecurestoloop1G. ··········· Uses ············ B Ensure E is ······················Stitch Variation······················ powdered filling; ····· Other Name ····· Work the second stitch from alternatives for stitches Backgrounds; detailed Detached chain stitch level with D naturalistic flowers Trammed tent stitch is sewn ·········· Level ··········· 2E to 1F and repeat to the end patterns with two or more namescharted or printed Easy over long straight stitches of the row. ········· Method ········· ············ Uses ············ Hold thread ········· Method ········· worked through the small holes Scattered as light filling; down to side Straight stitch worked Turn the canvas the other leaves and flower petals level Worked horizontally ·········Technique Variation········· 2 of needle on a double canvas. This gives ·············Stitch Variation············· through link stitch ········· Method ········· way up and repeat step 1 or Lazy daisy stitch is formed a ridged effect and because it is Indicates the skill level······· Materials Single looped stitch Make by making several link a slanting straight ······· second A. Make a loop androw take thefrom needle left stitches in a circle, all hardwearing, this stitch is often 1 Start atthe Materials ······· work ······· Materials stitch required to make the······· stitchSingle canvas; ······· starting at the centre. on either side of the down at A. Come out at B and pull the needle Any fabric; any thread any thread Each stitch represents a to right, starting with 2B to through over the working thread. Any fabric; any thread picot stitch, instead of a used for seat covers. petal and the whole looks – easy, intermediate, 1 Start at A and work a picot stitch (see the needle directly below B, at C, like a flowerhead. 2 InsertRepeat 3A. these two rows. single one passing beneath making a tie stitch (see p.20) to complete. at C and bring or advanced p.80). Take the needle down the tie stitch (see step 2 it out to the left, at D. above). This creates the

Link

2

1

USeS

Berry

2 Pass the needle under the tie stitch and

Suggests practical ways insert it at E to complete the ‘leaves’. in which each stitch can be used or adapted

Picot

effect of two separate leaves Work elongated to attieformstitch the base of the flower. tail

Hold thread down while making outer loop A B

·········· Level ··········· Intermediate

method

Describes the way in which the stitch is constructed materialS

Lists type of fabric, thread, and any other equipment needed letter

annotation

Shows points at which needle enters and exits fabric, in alphabetical order

122

B

·········· Level ··········· Easy

C

············ Uses ············ Powdered filling; flowers and leaves

············ Uses ············ Powdered filling; in circles Strai gh t N eedlepoi n t S titch e s as floral motif ········· Method ········· Make a small link stitch (see ········· Method ········· Double link stitch above). Bring the needle out Link variation with ······· Materials ······· at A and slide it under the tie long tie stitch Any fabric; any thread stitch between B and C. Take ······· Materials ······· the needle back up and insert Any fabric; any thread at A to complete the stitch.

Chevron

1

techniqUe variation Illustrates a different way of working the stitch or an alternative colour scheme.

A

····· Other Name ····· Long-tailed daisy stitch

A B C D E F

C

Start at A and follow step 1 of link stitch (see above). Take the needle down below B, at C, to make a long tie stitch.

H I J

1

2

2 Grid SyStem on needlepoint paGeS 3 Every hole on the canvas can be located by using the 45grid 6 7 at system. The horizontal rows are labelled with numbers 8 one side and the vertical rows with letters along the topWork or long stitches over bottom edge. The start and end points for each stitch are ·········· Level ··········· four threads Easyto by a number (indicating the horizontal row) referred ··········· ············ andUses a letter (indicating theatvertical row), 9Fa stitch to 7F.from the top left cornereg with 1 Start

Backgrounds and fillings

········· Method ········· Alternate zigzag bands of long and short stitches

8A to 4A. Work three more stitches upwards from 7B to 3B, 6C to 2C and 5D to 1D, then two downwards stitches from 6E to 2E and 7F to 3F. Repeat this sequence to the end of the row. Begin the next row with a short stitch from 7J

A B C D E F G H I J

1 2 3 4 5 6 7 8 9 10

Work short stitches over two threads

·········Technique Variation········· Emphasise the zigzag pattern within chevron stitch by working alternate

M aterials , t ools , and t echniques tools, Fabrics, threads,

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and

..........

Mounting techniques

.........

..........

stitching techniques

FraMes

12

Tool s, Fab r i c s , Th r ea d s , a n d F r a me s

Tools, Fabrics, Threads, and Frames

T

he basic equipment required for embroidery is minimal; as with many other sewing crafts, all that is necessary to start stitching is a needle, a length of thread, a piece of cloth, and a pair of scissors. Much time and care will be invested in creating a finished piece of needlework, so the choice of materials at the outset is important. In order to achieve a professional and long-lasting result it is worth investing in the best quality tools, threads, and fabric, and in taking time over their selection.

Workbox Tools Every workbox should be equipped with two pairs of sharp, steel-bladed scissors: large shears for cutting out cloth or canvas, and pointed embroidery scissors to clip threads and knots. A stitch ripper is convenient for unpicking mistakes and removing tacking. Dressmaker’s pencils or pens are used to draw motifs and

............. h anDy T ip ............. Purpose-made sewing boxes and fabriclined wicker baskets are the traditional way, to keep embroidery equipment together in one place. Art storage cases and plastic tool boxes from hardware suppliers provide practical alternatives: they are easy to transport and have many individual compartments in which to store threads, needles, and scissors.

guidelines directly on to fabric. Choose a pen with fading ink for any items that cannot be washed, or a watersoluble version for those that will be laundered. Chalk leaves a fine powdered line which can easily be brushed away. A ruler and tape measure may also prove helpful when marking up designs. A needle threader, pins, and thimble are also useful tools.

T himble l iqu iD

D ressmaker ’ s b enT - hanDleD

marking pen

pencil

shears

T ailor ’ s

e mbroiDery

chalk pencil

scissors

s TiTch n eeDle ThreaDer

D ressmaker ’ s

pins

r uler

T ape measure

ripper

Tool s , Fabrics , Thre ads , and Fram e s

Fabric and canvas Stitches can be worked on to any fabric, but there is a wide range designed especially for embroidery. Woven from cotton or linen, the square mesh produces regular, even stitches. They are gauged by the count or number of

threads to every 2.5cm (1in): the more threads, the finer the fabric. Use soft, single thread evenweave for counted thread, pulled fabric, and drawn thread work; double thread (Aida, Binca or Hardanger) for geometric patterns and cross stitch; and canvas for needlepoint.

canvas Both single and double weaves come in a variety of weights. Rigid plastic comes in 10-count.

Plainweave Fabric Decorative silk, felt, cotton stripes, and checks are all ideal for freestyle stitching.

l inen

s ingle canvas (i nterlock ) F elt s ingle (m ono

P lastic d ouble

canvas weave )

s ilk taFFeta

canvas

canvas

evenweave Fabric Manufactured in gauges from 8- to 36-count, this is available in many colours and textures. s triPed ticking

h ardanger Fabric s ingle

thread evenweave

c otton gingham

b inca

a ida

cloth

woven bands Narrow strips of fabric with decorative woven edges such as this natural linen band, are available in various widths.

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Tool s, Fab r i c s , Th r ea d s , a n d F r a me s

threadS Embroidery threads come in myriad colours and a broad spectrum of textures and weights. The thickness of the thread dictates the size and shape of the stitch, which will have a very different appearance if worked in a fine matt yarn or a lustrous pearl cotton. Certain wools and threads are spun in a single strand, whilst others consist of up to six fine strands which

are loosely twisted together. These can be separated out and re-combined, depending on the effect or line width required. The needle can be threaded with strands of two or more colours to create subtle shaded effects. Manufacturer’s sample books and shade cards show the full range of different threads that are available and can be a good source of inspiration when planning a new project.

SilkS and cottonS Silks and cottons are made in both single and stranded skeins. Silk, rayon, and twisted pearl cotton all have a high sheen, whilst stranded cotton gives a smooth finish. Use fine flower thread or the thicker soft cotton for a more matt appearance. Metallic threads add textural interest, and silk ribbon is used for embroidering naturalistic roses and flowers.

F lower

thread

S tranded

S ilk

cotton

rayon

S tranded

P earl

Silk

S ilk

S oFt

cotton

woolS The thickest wool is 4-ply tapestry, used on 10- to 14-count canvas. Use several strands of fine 2-ply crewel on canvas or a single strand on fabric. Persian has three easily separated medium-weight strands: use two or three for needlepoint and one to stitch on fabric.

S ilk

wool

thread

cotton

S ilk

thread

c rewel

t aPeStry

M etallic

ribbon

wool

P erSian

wool

thread

Tool s , Fabrics , Thre ads , and Fram e s

Needles The correct choice of needle is essential for any piece of embroidery or needlepoint. There are five different types used for decorative stitching, each with a particular purpose. All come in a range of thicknesses and lengths; select one that can be threaded easily and that passes smoothly through the fabric without snagging the thread. Chenille needles have sharp points, designed for working on heavy plainweave fabrics with thick threads. Blunt tapestry needles with long oval eyes are used with evenweave fabric and canvas, interlacing, and for all pulled fabric and drawn thread work. Versatile crewel needles are used for most embroidery stitches. They are long with easily-threaded eyes which take one or more strands. Sharps are mainly used for hand-sewing but, like betweens, they are ideal for fine stitching and French knots. prepariNg the thread A length of thread can be easily unwound from a reel, but care must be taken when working with cotton or wools that come in individual skeins. Twisted skeins have to be undone before they can be used, but the paper bands should not be removed from looped

UNtyiNg a twisted skeiN Remove the paper bands. Untwist the skein and cut through the threads, then tie them together with a loose slip knot.

C heNille

t apestry

Types of Needle

Keep slip knot loose

Needles There are five types of needle used for decorative embroidery. Each needle has a specific purpose.

C rewel ( embroidery )

s harp

b etweeN ( qU iltiNg )

skeins or they will become tangled. To prevent the thread becoming damaged as it passes repeatedly through the fabric, cut off a working length of no more than 50cm (20in). Use a needle threader with fine cotton and silk or the loop method of threading (see below) for stranded and pearl threads or wool.

Pull thread out gently

UsiNg a looped skeiN Leave the bands in place. Hold one end of the skein firmly and draw out the loose thread to the required length.

Guide thread through eye

threadiNg a Needle Fold thread over needle and hold the loop between thumb and finger. Slide the loop off; pass it through the eye.

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Tool s, Fab r i c s , Th r ea d s , a n d F r a me s

Frames Small-scale projects and some needlepoint can be stitched in the hand, but most embroidery has to be worked on a frame to achieve the best result. The frame maintains the fabric at an even tension and holds the grain straight, which keeps the stitches regular and even, and protects the work by reducing the amount of handling it undergoes. The choice of frame depends on both the scale of a project and the fabric being used, but is very often a personal preference. There are three basic types: fixed stretchers and adjustable scroll frames which are used for embroidery fabrics and all weights of canvas, and round hoops for cotton and linen. All of these are available with integral or additional stand attachments, which give the advantage of freeing up both hands for stitching. Larger embroideries in particular are manageable if worked on a free-standing frame. Any frame should be large enough to accommodate the whole design area; moving fabric within a frame can damage the stitches. round Frames Wooden hoop frames range in diameter from 12 to 32cm (44⁄5 to 13in) and are ideal for smaller pieces of embroidery worked on fabric. They are light, portable, and easily held in one hand, but free-standing versions, which can be clamped on to a table, are also available. Tension screw is used to tighten the adjustable outer ring

Inner ring is solid

e mbroidery hooP (t ambour Frame )

square and rectangular Frames These can be used for canvas or embroidery fabric. Stretcher frames are sold as two pairs of struts which can be chosen and assembled to fit a particular piece of work. Scroll frames come in several widths, depending on the roller length.

s tretcher

Wing nuts secure the roller bars in place

Wooden struts slot together at corners

Frame

s croll

Frame

PreParing the inner ring To prevent delicate fabrics from becoming damaged and to stop them slipping within the hoop, bind the inner ring tightly with narrow cotton tape or bias binding. Stitch the two ends together to secure.

M ounting Te chnique s

Mounting Techniques

I

t is worth taking time at the outset of a project to prepare and mount the fabric properly. Neaten the edges to prevent them fraying or snagging by working a narrow hem or a machine zigzag stitch around linen and cotton fabrics, or by binding canvas with masking tape. Use a steam iron to press the fabric and remove any creases. uSing an embroidery Hoop The fabric should be at least 8cm (3in) larger all round than the diameter of the hoop. Loosen the screw slightly before mounting.

............ H andy t ip ............ Before mounting the fabric, fold it into quarters and work two rows of tacking along the creases, following the weave. Keep these lines straight to ensure that the grain of the fabric does not become distorted when stretched in the frame.

Setting up a Scroll Frame Cut the fabric or canvas to the same width as the webbing. If it is longer than the struts, any surplus can be wrapped round the bottom roller and adjusted as work progresses.

mounting tHe Fabric Centre the fabric over the inner ring, then gently push the outer ring over the fabric, keeping the grain straight. Tighten the screw to hold the frame together.

preparing a StretcHer Frame The neatened fabric or canvas should be the same size as the frame. Use drawing pins or a staple gun to fix the fabric in place.

pinning canvaS Mark the middle of each strut; line the canvas up to these four points. Pin from the centre out towards each corner, spacing the pins at regular intervals.

1

Neaten the side edges. Match the midpoints of the canvas and webbing, then tack together. Sewing outwards from the centre, work herringbone stitch (see p.52) over the join.

2

Slot the rollers into the spaces in the struts. Tighten the two top screws, then turn the bottom roller to stretch the fabric. Secure the other screws, then lace the fabric tightly over the edges using thin string and a tapestry needle.

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St i t c h i n g Te c h n iq u e s

Stitching Techniques

T

he key to a professional finish for any piece of needlework is to keep the length of the stitches regular and to maintain even tension throughout, whether or not the fabric is mounted on a frame. Take time to sew a small sample piece before embarking on any new project, to become familiar with the stitches and to establish a rhythmic pattern of working. Embroidery stitches are constructed either vertically, usually from top to bottom, or horizontally towards the left or right, although they may appear at any angle in the finished piece. Needlepoint fillings, which form all-over patterns, are worked in diagonal, horizontal, or vertical rows.

Beginning to stitch Follow one of the two techniques shown below to start off or to join a new length of thread. Both will help to ensure that the reverse side of the stitching is as neat as the front.

Lost Knot Method Use this technique for needlepoint and open embroidery stitches. Knot one end of the thread and insert the needle from the front, a short distance along the line to be worked. Continue stitching so the thread is held down at the back by the first stitches. Cut off the knot.

... L eFt -h anded W oRKeRs ... All the illustrations in the following chapters show how the stitches would be sewn by a right-handed worker, but most left-handed stitchers will prefer to sew in the opposite direction. Hold a small mirror in front of the page to turn the step-by-step diagrams the other way round and to reverse the direction of the needle.

Fastening oFF a thRead Fasten off the thread when it is no less than 10cm (4in) long. Try not to finish too many threads in the same area as this can create an uneven surface, especially in needlepoint.

Running stitch Method Use when working embroidery stitches which are spaced closely together and for needlepoint. Leaving a loose end of thread at the back, work a few small running stitches, and stitch over them. The end can then be darned through the reverse of the stitches.

Fastening oFF Take the needle through to the wrong side of the fabric and turn the work over. Pass the needle under the loops at the back of the final few stitches for a distance of about 2.5cm (1in), then clip the end of the thread close to the fabric surface.

Stitching Te chnique s

WayS of Working Holding the fabric in the hand is a familiar sewing technique and some stitches, including looped embroidery stitches, are best worked this way. When the fabric is mounted in a frame, a special two-handed technique is used.

Hand-held Needlepoint

Straight, and some crossed, stitches can be worked in the hand without any problems, but diagonal stitches will cause some distortion.

Embroidering in the Hand

Support the area being worked over the forefinger. Hold the needle in the other hand and slide it in and out in a single movement. looped StitcheS Loop the thread from one side to the other and use the free thumb to hold it down. Pull the needle through over the working thread. The stepby-step diagrams will indicate the point where the thread should be held.

Using Both Hands

Working with a free-standing frame may prove awkward at first but, with practice, both rightand left-handed workers will find that they can stitch quickly and evenly with two hands.

Stitching on canvaS Bind the edges of the canvas and start at the far side. Keep the unworked part rolled in one hand, while stitching with the other. Be sure to keep the tension even.

Working needlepoint StitcheS Stitches on canvas are worked into the square holes between the woven threads. To avoid splitting the stitches, always try to bring the needle up through an unworked space and take it down into an already worked hole. Do not pull the yarn too tightly or the holes will become enlarged so the canvas shows through.

Stabbing technique Keep one hand on either side of the frame. Push the needle down into the fabric from the top and pull it through from below. Pass it back up with this hand, and draw it through from above.

1

Work the first row, then fill in the bottom corner. Start each stitch from an unworked hole and insert the needle in to the base of the stitches in the previous row.

2

Fill the top corner with stitches worked in the opposite direction, ending each one at the top of the last row. Use this method with the stabbing technique.

19

20

St i t c h i n g Te c h n iq u e s

Working Filling StitcheS Powdered, open, and solid fillings, along with most needlepoint stitches, are worked within a specific area of a design, which may be a naturalistic leaf or petal, or a more regular geometric form. The size and shape of the individual stitches have to be altered to fill the given shape. For open and solid embroidered fillings, this means that the stitches must be worked at different lengths to fit within a curved or zigzag line, or all at the same length to complete a rectangular or square motif. Powdered fillings are worked singly within an outline: their size may be varied to add extra visual interest. Diagonal needlepoint stitches, which have a regular, all-over surface pattern, require part stitches to be worked at the edges of the shape. oPen and Solid FillingS Start a leaf at the top with a short straight stitch to fill in the point, then work downwards, first increasing, then reducing the length of the stitches. Insert the needle just beyond the edge of the shape so the stitches hide the line.

PoWdered FillingS Work a fine outline stitch over the guideline to define the motif, then fill the shape with individual stitches. These can be arranged in a regular pattern or scattered randomly within the leaf.

needlePoint FillingS Straight, cross, and star stitches fit easily within a square, but diagonal stitches have to be adapted. Count the intersections carefully, and make part stitches to square off the edges of the area being worked.

counted thread and FreeStyle Embroidery stitches can be worked on either evenweave or plainweave fabric. A regularly spaced effect can easily be created by counting the threads on evenweave; work between guidelines to achieve the same result with freestyle stitching on finer plainweave fabric.

evenWeave Fabric Make each stitch over the same number of threads or thread intersections.

PlainWeave Fabric Stitch between two parallel lines drawn on to the fabric with a dressmaker’s pen.

tie StitcheS These short stitches are used to anchor looped stitches such as chain stitch, in couching, and to bunch together groups of straight stitches. Making a tie Stitch Bring the needle up above the long stitch or inside the loop and insert it just below the thread.

Stitching Te chnique s

working openwork StitcHeS In all types of openwork the background fabric is as important as the stitches themselves, and forms an integral part of the finished piece. It has to be carefully prepared for drawn thread work and for insertion (faggoting) stitches. Drawn Thread Stitches

The open spaces that give drawn thread work its characteristic lacy appearance are formed by removing some of the woven threads that make up the fabric.

pulling out tHe tHreadS Evenweave cotton or linen are the best fabrics to work with. Use the point of a needle to lift up the threads and pull out enough to make an open band or bands of the required width.

Insertion Stitches

To ensure that the space between the two hems remains constant and the stitches are worked regularly, the fabric being joined has to be stitched on to paper before starting.

Mounting tHe FaBric Stitch a narrow hem along each long edge. Draw two parallel lines, 6mm (1⁄ 4 in) apart on to a strip of heavy paper. With the right sides facing, tack one piece of fabric along each line.

FiniSHing oFF When the final stitches have been completed, take the work off the frame. Press embroidery lightly on the wrong side before mounting. Blocking

A piece of needlepoint which incorporates diagonal stitches will inevitably become pulled out of shape as it is worked. Any distortion can be remedied by blocking the canvas. How to Block Make a template of the finished piece and mark into quarters. Tape to a board and cover with polythene. Place the dampened work face down. Match the centre top edge to the template and pin. Stretch and pin the bottom edge and two sides. Insert more pins at 2.5cm (1in) intervals. Allow to dry.

Mounting

If a project is to be framed it should first be mounted on to board to keep it in shape, whether it is worked on fabric or canvas.

1

Cut the board to size and mark into quarters. Centre it on the wrong side of the fabric and fold back long edges. Pin them to the card from the centre out.

2

Using strong thread, lace the edges together. Do the same with the other two sides. Check the fabric is centred, then tighten up and secure the threads.

21

G allery of s TiTches This

visual reference chapTer

provides an overview of all The sTiTches illusTraTed in The book

24

Gal l e r y of St it c h es

Running (p.39)

Cable (p.41) Square Chain (p.44)

Whipped Running (p.39)

Couching (p.42) Twisted Chain (p.44)

Double Running (p.39)

Satin Couching (p.42)

Cable Chain (p.45)

Back (p.40)

Pearl (p.42)

Broad Chain (p.45)

Split (p.40)

Coral (p.43)

Rope (p.46)

Threaded Back (p.40)

Double Knot (p.43)

Scroll (p.46)

Stem (p.41)

Chain (p.44)

Gal l e ry of Stitche s

Paris (p.48)

Zigzag (p.51) Russian Chain (p.54)

Fern (p.48)

Herringbone (p.52)

Petal (p.54)

Closed Herringbone (p.52)

Zigzag Chain (p.55)

Bosnian (p.49)

Chevron (p.49) Rosette Chain (p.55) Shadow (p.52)

Thorn (p.50)

Loop (p.56) Basket (p.53) Cross (p.50)

Flat Vandyke (p.56) Long-armed Cross (p.51)

Wheatear (p.53)

25

26

G al l e r y of St it c h es

Feather (p.60) Ladder (p.57) Interlacing Band (p.63)

Closed Feather (p.60) Magic Chain (p.64)

Blanket (p.58)

Buttonhole (p.58) Double Feather (p.61)

Singalese Chain (p.64)

Chained Feather (p.61)

Threaded Chain (p.65)

Closed Buttonhole (p.58)

Single Feather (p.58)

Pekinese (p.63)

Up and Down Buttonhole (p.59) Guilloche (p.65)

Laced Buttonhole (p.63) Open Cretan (p.59)

Raised Chevron (p.66)

Gal l e ry of Stitche s

Diagonal Woven Band (p.69)

Ermine (p.74)

Striped Woven Band (p.69)

Square Boss (p.74)

Portuguese Border (p.69)

Star (p.74)

Backstitched Herringbone (p.66)

Raised Lattice Band (p.66)

Double Herringbone (p.67) Woven Star (p.75) Straight (p.73)

Twisted Lattice Band (p.67)

Arrowhead (p.73)

Woven Cross (p.75)

Butterfly Chain (p.68)

Dot (p.73)

French Knot (p.76)

Raised Chain Band (p.68)

St George Cross (p.73)

Pistil (p.76)

27

28

G al l e r y of St it c h es

Bullion Knot (p.76)

Sorbello (p.79)

Tulip (p.81)

Palestrina Knot (p.79) Danish Knot (p.77) Woven Spider Web (p.82)

Four-legged Knot (p.77)

Link (p.80)

Ribbon Rose (p.82)

Lazy Daisy (p.80) Sword (p.77)

Ribbed Web (p.82) Fly (p.78)

Berry (p.80)

Sheaf Filling (p.78)

Picot (p.80)

Crown (p.78)

Detached Wheatear (p.81)

Buttonhole Wheel (p.82)

Shisha (p.83)

Gal l e ry of Stitche s

Darning (p.85) Cretan (p.89) Buttonhole Filling (p.87)

Double Darning (p.85) Close Cretan (p.89) Stem Filling (p.87)

Brick and Cross (p.85)

Romanian Couching (p.90) Leaf (p.88) Satin (p.86)

Bokhara Couching (p.90) Open Fishbone (p.88) Surface Satin (p.86)

Spiral Couching (p.90) Encroaching Satin (p.86)

Attached Fly (p.89)

Long and Short (p.87)

Close Fly (p.89)

Couched Filling (p.91)

29

30

G al l e r y of St it c h es

Laidwork (p.91) Russian Filling (p.98) Window Filling (p.97)

Back Stitch Trellis (p.92)

Diagonal Raised Band (p.99)

Pulled Wave Filling (p.97) Japanese Darning (p.92) Ridged Filling (p.99)

Three-sided (p.97)

Cloud Filling (p.93) Punch (p.99)

Honeycomb Filling (p.98) Wave Filling (p.93) Cobbler Filling (p.100)

Gal l e ry of Stitche s

Four-sided (p.106) Step (p.100)

Outlined Diamond Eyelet (p.103)

Chevron Border (p.107) Single Hem (p.105)

Mosaic Filling (p.101)

Diamond Border (p.107) Ladder Hem (p.105)

Diagonal Satin Filling (p.101)

Laced Insertion (p.108) Serpentine Hem (p.105)

Back Stitch Rings (p.102) Antique Hem (p.105)

Faggot Bundles (p.108)

Italian Border (p.106)

Cretan Insertion (p.108)

Algerian Eye (p.102)

31

32

G al l e r y of St it c h es

Ring Picot Edge (p.114) Knotted Insertion (p.109)

Antwerp Edging (p.112) Parisian (p.119)

Buttonhole Eyelet (p.115) Buttonhole Insertion (p.109)

Sailor Edging (p.112)

Hungarian (p.120)

Overcast Eyelet (p.115)

Looped Edge (p.113) Hungarian Diamond (p.120)

Needleweaving Bars (p.110) Square Eyelet (p.115)

Half Chevron (p.113) Single Twill (p.121) Zigzag Clusters (p.110) Upright Gobelin (p.119)

Scalloped Edge (p.114) Double Twill (p.121) Corded Clusters (p.110)

Gobelin Filling (p.119)

Gal l e ry of Stitche s

Trammed Tent (p.129) Brick Filling (p.126) Diamond (p.124) Bargello (p.121)

Gobelin (p.130)

Long Stitch Triangles (p.124)

Long and Short Brick (p.127)

Chevron (p.122) Encroaching Gobelin (p.130)

Basket Filling (p.127) Lozenge (p.125) Hungarian Ground (p.122) Reversed Sloping Gobelin (p.131) Half Cross (p.129) Straight Milanese (p.125) Straight Cushion (p.123)

Basketweave Tent (p.129)

Canvas Stem (p.131)

Tent (p.129)

Florence (p.132)

Double Brick (p.126)

Scottish Diamond (p.123)

33

34

G al l e r y of St it c h es

Cross (p.139) Cashmere (p.132)

Double Leviathan (p.141)

Milanese (p.135)

Diagonal Cross (p.139) Diagonal Tweed (p.141) Diagonal (p.133)

Mosaic (p.136)

Double Cross (p.139) Broad Cross (p.142) Cushion (p.136) Byzantine (p.133) Upright Cross (p.140) Cross-corner Cushion (p.142) Scottish (p.137)

Jacquard (p.134)

Diamond Cross (p.140)

Brighton (p.143)

Chequer (p.137) Smyrna Cross (p.140) Moorish (p.135)

Gal l e ry of Stitche s

Rice (p.143)

Diamond Eye (p.149)

Knitting (p.153)

Fir (p.146)

Plaited Gobelin (p.144)

Fan (p.149) Old Wheatsheaf (p.153) Rhodes (p.147)

Greek (p.144) Rya (p.151)

Tied Gobelin (p.154)

Half Rhodes (p.147)

Plait (p.145) French (p.154) Turkey (p.151) Star (p.148)

Fishbone (p.145) Pineapple (p.155) Houndstooth (p.152) Eye (p.148)

Fern (p.146)

Arrow (p.155)

35

L ine and B order S titcheS outLine StitcheS

.........

..........

Border StitcheS

.........

..........

compoSite Border StitcheS

Outline Stitches T

his group includes some of the most basic and versatile embroidery stitches, which are all worked continuously in a curved or straight row. They can be sewn in any thread on any fabric, depending on the effect required, and are employed whenever fine lines and details are needed. Use these stitches to ‘draw’ designs and motifs, for monograms and lettering, or to define shapes which will be completed with filling stitches. Running and back stitches provide the foundation for some composite stitches and can be interlaced with contrasting threads.

Running 39 Whipped Running 39 Double Running 39 Back 40 Split 40 Threaded Back 40 Stem 41 Cable 41 Couching 42 Satin Couching 42

Pearl 42 Coral 43 Double Knot 43 Chain 44 Square Chain 44 Twisted Chain 44 Cable Chain 45 Broad Chain 45 Rope 46 Scroll 46

Outl ine Stitche s

39

Running

Whipped Running

··········· Level ··········· Easy

······ Other Name ······ Cordonnet stitch

············ Uses ············ Simple lines and outlines; basis for other stitches; hand sewing and quilting; reinforcement for cutwork

B

··········· Level ··········· Easy

A

············ Uses ············ Straight or curved outlines

C

········· Method ········· Regularly spaced straight stitches of equal length

Work stitches at equal intervals

······· Materials ······· Any fabric; any thread

Come up at A, then insert the needle at B. Bring it out again at C. Continue, spacing the stitches evenly and making them all the same length.

········· Method ········· Laced running stitch ······· Materials ······· Any fabric; any two threads – contrasting colours and thicknesses for greater effect; blunt needle for whipping

Double Running 1

A

Use blunt needle to avoid catching threads

Do not pull lacing thread tightly

Work a foundation of closely spaced running stitch (see left). Using a blunt needle, bring the second thread up at A. Slide the needle under the next stitch from right to left and pull through gently. Continue whipping to the end of the line.

Ensure spaces are equal in length to stitches Make stitches all same length

····· Other Names ····· Holbein stitch; Assisi stitch ············ Level ··········· Easy ············ Uses ············ With cross stitch; in Assisi and blackwork ········ Method ········· Counted thread stitch worked with two rows of running stitch ······· Materials ······· Evenweave fabric; any embroidery thread

···Technique Variation···

2 A

B Angle needle to ensure a smooth line

1 Work a line of running stitch (see above). Make sure the stitches are all the same length and equal in length to the spaces.

2 Fill in the spaces on the return journey. Come out at the top of the previous stitch, at A. Insert the needle just below the start of the next stitch at B. Repeat to the end of the row.

Double running stitch can be used to create intricate geometric bands and filling patterns. Chart the design on squared paper. Stitch along the line, working every other stitch. On the return journey, fill in the spaces with a second row of running stitch worked in the opposite direction.

40

O u t l i n e St i t c h e s

Back

Split

··········· Level ··········· Easy

··········· Level ··········· Easy

············ Uses ············ Details and fine outlines, lettering, basis for other composite stitches ······· Materials ······· Any fabric; any thread – untwisted threads give smooth effect

B A C

Ensure B and C are equidistant from A

C

············ Uses ············ Outlines; in close rows as filling; padded edge for solid filling stitches

D

······· Materials ······· Any fabric; soft, untwisted thread such as stranded cotton or silk floss; sharp needle

········· Method ········· Row of back stitch interlaced with one or two threads ······· Materials ······· Any fabric; two or three colours of any thick embroidery thread; blunt needle

Keep stitches regular to create smooth surface

Come up at A and work a straight stitch across to B. Bring the needle up at C, halfway along the stitch, so that it splits the thread. Pull through. Insert the needle at D and repeat to continue.

Threaded Back 1 A

Do not pull thread too tightly Keep loops even on both sides

2

············ Uses ············ Flexible, decorative outlines and borders

B

Use sharp needle to divide thread easily

Come up at A. Insert the needle at B, then bring it out again one stitch length ahead of A at C. Insert the needle again at A and continue making regular backward stitches in the same way.

··········· Level ··········· Easy

A

C

Use blunt needle to avoid catching threads

1 Work a foundation of back stitch (see above). Bring the second thread up at A. Slide the needle under the next stitch, then pass it back under the following stitch. Continue weaving from side to side. 2 Take the thread down at B and finish off. For a double-threaded variation bring another thread up at C and weave in the same way as before, filling in the gaps.

B

Outl ine Stitche s

Stem ····· Other Names ····· Outline stitch; crewel stitch

2

1

C B

A C

··········· Level ··········· Easy

Keep stitches all same length

Keep loop below needle

1 Start at A, then insert the needle at B. Bring the needle up in the centre at C.

············ Technique Variation ············

2 Insert the needle at D and bring it

For a more solid, rope-like effect, work the stitches at an angle.

out at the end of the previous stitch, at B. Continue making a row of overlapping stitches.

Cable ····· Other Names ····· Alternating stem stitch; side-to-side stem stitch

1

Keep loop above needle

A

C

B

2 C

··········· Level ··········· Easy ············ Uses ············ Straight and curved outlines; narrow border ······· Materials ······· Any fabric; any embroidery thread

D

B

············ Uses ············ Outlines; flower stems; worked in rows as filling ······· Materials ······· Any fabric; any embroidery thread or crewel wool

Ensure thread comes up above previous stitch

Ensure loop lies below needle

1 Start at A, then insert the needle at B. Bring the needle up in the centre at C and pull through. 2 Insert the needle at D and bring it back up at B. 3 Keeping the loop below the needle, insert at E and come up again at D. Repeat steps 2 and 3 to continue stitching.

3

B

D

Ensure E and B are equidistant from D

B

D

E

41

42

O u t l i n e St i t c h e s

Couching 1

Vary number of laid threads depending on thickness of line required

D

··········· Level ··········· Easy ············ Uses ············ Straight and curved outlines; metal thread work; in rows as filling

B

1 Bring the main threads out at A and lay them along the line to be worked. To make the tie stitches (see p.20), come up at B using the couching thread. Insert the needle at C, over the laid threads, and bring it out at D to start the next stitch.

A

C

Keep laid threads taut with thumb or forefinger

·······Method······· Laid threads held down with small tie stitches

2

2 Continue working evenly spaced tie stitches over the laid thread to the end of the line. Finish off all threads at the back.

Work tie stitches in same or contrasting colour

······· Materials ······· Any closely woven fabric; thick or delicate embroidery threads; finer thread for couching; frame

·············Stitch Variation············· Satin couching, known also as trailing stitch, is a variation of couching, in which the tie stitches are worked very closely together so that the laid thread is completely covered.

Pearl 2

1 ··········· Level ··········· Intermediate ············ Uses ············ Intricate or straight outlines; monograms

B C

A

Ensure needle emerges directly below B

Do not pull stitch too tightly

C

········· Method ········· Knotted stitch, worked in continuous line ······· Materials ······· Any fabric; thick, nonstranded embroidery thread

1 Start at A and make a diagonal stitch up to B. Bring the needle out at C. 2 Pull the thread to form a loop. Slide the

3

needle under the stitch from right to left.

3 Tighten the knot by pulling the thread gently

downwards. Take the needle up to the left and insert at D to form the loop for the next stitch. Come out at E. Repeat steps 2 and 3 to continue along the row.

D E

C

Use thick thread to create raised knot

Outl ine Stitche s

Coral

1

B C

····· Other Names ····· Knotted stitch; snail trail; beaded stitch

2

A

C Ensure thread loop lies under needle

Hold down thread with thumb or forefinger

··········· Level ··········· Easy ············ Uses ············ Straight and curved outlines; in rows as textured filling ········· Method ········· Series of closely or widely spaced single knots

3

D E C

······· Materials ······· Any fabric; thick, non-stranded thread

Keep needle at right angle to line

1 Start at A and hold the thread down along the stitching line. Insert the needle at B and loop the thread from left to right. Bring the point out over the loop at C. 2 Pull the needle gently through the loop so that the thread tightens into a knot. 3 Take the needle across to the left and insert it at D. Bring it out at E, ready for the next knot. Repeat steps 1 and 2 to continue.

Double Knot 1 ····· Other Names ····· Old English knot stitch; Palestrina stitch; Smyrna stitch

2 C B A

C Pass needle over looped thread

··········· Level ··········· Intermediate ········· Method ········· Knotted stitch, worked in continuous line ············ Uses ············ Outlines and borders ······· Materials ······· Any fabric; thick, non-stranded embroidery thread

Avoid catching thread or fabric with needle

1 Start at A and make a diagonal stitch across to B. Bring the needle out at C, then slide it under the stitch from top to bottom. 2 Take the needle to the right of the loop and pass it

under the diagonal stitch again. Bring it through over the working thread.

3 Pull the thread up to form a knot. Insert the needle at D and bring it out in line with C at E, ready to work the next stitch.

Space knots at regular intervals: for more texture, place closer together

3

D C

E

43

44

O u t l i n e St i t c h e s

Chain ····· Other Names ····· point de chainette; Tambour stitch ··········· Level ··········· Easy ············ Uses ············ Straight lines and curves; lettering; in rows or spiral as filling ··········Method·········· Looped stitch, worked from top to bottom ······· Materials ······· Any fabric; any thread

1

A

Take needle back into hole from which it emerged

2

B

B

Make loops all same length

Do not pull thread tightly

C Hold loop down with thumb or forefinger

3

C D E

1 Start at A. Loop the thread from left to right and insert the needle again at A. Bring it through over the working thread at B. 2 Repeat step 1 to make the second stitch. Insert the needle inside the first loop at B and bring it out at C. 3 When the final stitch has been made, finish off by anchoring the last loop down with a small tie stitch (see p.20) from D to E.

Square Chain ····· Other Names ····· Ladder stitch; Roman chain; open chain stitch ··········· Level ··········· Easy ············ Uses ············ Broad outlines; couching stitch; foundation for ribbon decoration; traditional Indian embroidery ········· Method ········· Looped stitch, worked from top to bottom ······· Materials ······· Any fabric; any thread

A

Twisted Chain B

C

··········· Level ··········· Easy ············ Uses ············ Curved and textured outlines ········· Method ········· Chain stitch variation with crossed loop

Keep thread loose

Come out at A. Insert the needle inside the previous loop at B. Bring it through over the working thread at C, leaving an open loop. Repeat to continue. Anchor the final loop with a tie stitch (see p.20) at each corner.

······· Materials ······· Any fabric; any thread – non-stranded threads give best effect

A Insert needle to left of start point

B C

Ensure thread lies under needle

Come up at A. Loop thread from left to right, insert the needle at B. Come up at C, pull through over the working thread. Repeat to continue. Finish with a tie stitch (see p.20) over the final loop.

Outl ine Stitche s

Cable Chain ··········· Level ··········· Intermediate

1

Hold thread to keep it taut

2

Hold thread down with thumb or forefinger

A B

Pull needle over thread

C

A

········· Method ·········· Looped and twisted stitch, worked from top to bottom

3

············ Uses ············ Decorative straight or curved outlines ······· Materials ········ Any fabric; any thick embroidery thread

1 Start at A. Wrap the thread over and under the needle from left to right. C

2 Insert the needle at B. Bring the point out at C

over the working thread. Pull the needle through to form the first two links.

D

3 Twist the thread around the needle again and

E

work the next stitch from D to E. Repeat steps 1 and 2 to continue stitching downwards.

Broad Chain ····· Other Name ····· Reversed chain stitch ··········· Level ··········· Intermediate ········· Method ·········· Looped stitch, worked from top to bottom

1

2 A C

B

D

C D

Work stitches close together to create solid chain

············ Uses ············ Solid, flexible outline ······· Materials ········ Any fabric; firm embroidery thread Do not pull loop too tightly

1 Start at A and make a short upright stitch to B. Come out directly below B at C, and slide the needle under the upright stitch from right to left. Take it down at C, pulling the thread gently to form the first loop. Bring the needle out again at D. 2 Pass the needle under both sides of the loop, then take it down at D. Repeat from C to continue.

45

46

Ou t l i n e St i t c h e s

Rope ··········· Level ··········· Advanced ············ Uses ············ Straight, curved or spiral outlines

1 Loop working thread under needle

2 Work stitches close together to conceal knots

A

B

D

C

······· Materials ······· Any fabric; any thick thread – stranded cotton gives a smooth effect; frame ············· Tip ············· Vary the angle of the stitches to work around a curve

Work with needle at a steep angle

C

E

1 Start at A. Take the needle diagonally across and insert at B, then bring it up below and to the left of A, at C. 2 Pull the needle over the working thread to form a small knot at the base of the stitch. Insert the needle at D and bring it up at E to make the next stitch. Repeat this step to continue.

Scroll ······ Other Name ······ Single knotted line stitch ··········· Level ··········· Intermediate

1 Hold down loop as thread is pulled through

A

B C

Do not pull thread too tightly

············ Uses ············ Decorative outlines ········· Method ········· Looped knot stitch ······· Materials ······· Any fabric; firm, nonstranded embroidery thread; frame

Wrap thread under both ends of needle

1 Start at A. Take the needle diagonally across and insert at B. Bring the point out at C, so that it lies at an angle. Wrap the working thread clockwise under the needle. 2 Pull the needle through gently, keeping the loop in shape. Insert at D and bring the point through at E, so that the needle lies at the same angle used for the previous stitch. Repeat the sequence to continue.

2 E C

D

Border Stitches T

his is the largest, most widely used group of stitches and includes flat, looped and knotted techniques. Border stitches are used to create broad, decorative straight lines, frames, and edgings. They can be worked in straight or curved rows, singly as outlines or repeated to form a filling to cover a larger area. Use plainweave fabric for freestyle stitching or evenweave to produce the more regular stitches of counted thread work. Mount the fabric in a frame to prevent it puckering and to keep the stitches even, especially those such as herringbone which are made up of long straight stitches.

Paris 48 Fern 48 Bosnian 49 Chevron 49 Thorn 50 Cross 50 Long-armed Cross 51 Zigzag 51 Herringbone 52 Closed Herringbone 52 Shadow 52 Basket 53 Wheatear 53 Russian Chain 54 Petal 54

Zigzag Chain 55 Rosette Chain 55 Loop 56 Flat Vandyke 56 Ladder 57 Blanket 58 Buttonhole 58 Closed Buttonhole 58 Single Feather 58 Up and Down Buttonhole 59 Open Cretan 59 Feather 60 Closed Feather 60 Double Feather 61 Chained Feather 61

48

Bor de r St i t c he s

Paris

1

Work upright stitches at right angles to base line A

······ Other Name ······ Open square stitch

B

C

Ensure stitches are all same length

··········· Level ··········· Easy

2

············ Uses ············ Light border; in rows as filling

D

········· Method ········· Back stitch variation with upright branches ······· Materials ······· Evenweave fabric; any thread

Fern

C B

1 Come up at A and work an upright stitch to B. Bring the needle out to the left of B at C. 2 Re-insert the needle at B to make a back stitch. Bring it out again above C, at D. Continue working pairs of stitches at right angles in the same way.

1

Work stitches in groups of three

C A

2 C

B

A D

······ Other Name ······ Fern leaf stitch ··········· Level ··········· Easy ············ Uses ············ Leaf veins and delicate foliage sprays ······· Materials ······· Any fabric; any thread ············· Tip ············· Vary length of stitches when working on a curve

Ensure C and D are equidistant from A

1 Come out at A. Insert the needle at B to make a horizontal stitch. Come out directly above B, at C.

3 E Work three stitches so they radiate from A

2 Re-insert the needle at A and bring it out below C, at D.

A D

3 Insert the needle again at A and come out at E, ready to start the next group of stitches.

Borde r Stitche s

Bosnian

1 B

··········· Level ··········· Easy

C

2

A

············ Uses ············ Straight borders or outlines; in rows as filling

······· Materials ······· Any fabric; any thread

C

1 Come up at A and make an upright stitch to B. Bring the needle out to the left of A, at C. Continue working a row of evenly spaced straight stitches. 2 Fill the spaces with slanting stitches. Come up at C, insert the needle at B, then bring it out at A. Repeat to the end of the row.

Chevron ··········· Level ··········· Easy ············ Uses ············ Straight border; in close rows as light filling; in smocking as surface honeycomb stitch ········· Method ········· Worked horizontally between parallel lines ······· Materials ······· Any fabric; any thread

B

Ensure stitches are all same height

········· Method ········· Worked horizontally in two journeys

A

Work diagonal stitches to form zigzag line

Keep thread above needle

1

E D

A

C

2

E

D F

B

1 Start at A and make a horizontal straight stitch to B. Bring the needle out at the centre of the stitch, at C. Take the needle up to the right and insert it at D, then bring it out in line with D, at E. 2 Take the needle to the right and insert it at F. Come out again at D. 3 Take the needle down and insert at G, then come out at H. Insert the needle to the right, at J, and bring it out again at G. Repeat the sequence to continue.

Ensure E and F are equidistant from D Work diagonal stitches at consistent angles

3

Make all horizontal stitches same length

D

H

G J

49

50

Bor de r St i t c he s

Thorn

1

Hold laid thread in place with diagonal stitches A

··········· Level ··········· Easy ············ Uses ············ Curved floral sprays and foliage; straight borders

B C

A

············ Uses ············ Geometric designs; charted patterns; lettering ········· Method ········· Worked over equal number of horizontal and vertical threads

B

······· Materials ······· Any fabric; any embroidery thread – fine threads give a feathery appearance; frame

1

··········· Level ··········· Easy

D

········· Method ········· Laid thread couched down (see p.42) with pairs of crossed stitches

To work in rows:

····· Other Names ····· Berlin stitch; sampler stitch C

E

Cross

Insert needle at an angle

······· Materials ······· Evenweave fabric; any embroidery thread

Work stitches in rows when covering a large area

2

Space stitches evenly D

C

2

A

Ensure top stitches all lie in same direction Work straight stitches symmetrically

E

F

G

1 Come up at A, insert the needle at B and come out at C. Repeat to make a series of evenly spaced diagonal stitches. 2 Work the top stitches in the opposite direction. Take the needle across from C and insert at D. Come out again at A. Repeat to complete the row. To work stitches singly:

1

B C

1 Start at A and, following the line to be worked, make a

long stitch to B. Use a second thread to work the couching stitches. Come up at C and take the needle across the laid thread to insert at D. Bring the needle out at E.

2 Insert the needle at F and bring it out at G, ready to make the next diagonal stitch. Make further pairs of stitches in the same way along the laid thread.

A

2

C

D

Work stitches singly when covering a small area

1 Start at A. Take the needle diagonally left and insert at B, then bring it out at C. 2 Insert the needle at D to complete the cross. Bring the needle out at C to work the next stitch.

Borde r Stitche s

51

Long-armed Cross 1 B

····· Other Names ····· Plaited Slav stitch; long-legged cross stitch

Work stitches in pairs

C

A

··········· Level ··········· Intermediate ············ Uses ············ Straight frame or border; in rows as filling

Work over twice as many horizontal as vertical threads

········· Method ········· Cross stitch variation worked horizontally ······· Materials ······· Evenweave fabric; thick embroidery threads – heavier threads give a more raised appearance

2

D

E

A

C

1 Come up at A and make a long diagonal stitch to B. Come out directly below B, at C.

Ensure A and C are equidistant from E

2 Take the needle back and insert at D, then bring it out directly below, at E. Repeat these two steps to the end of the row.

Zigzag 1 ··········· Level ··········· Easy ············ Uses ············ Open outline; in close rows as open filling ········· Method ········· Alternate upright and diagonal stitches, worked horizontally in two journeys ······· Materials ······· Any fabric; any thread – fine twisted threads give a more open effect

C D

B Work second journey in opposite direction

A

2 C D

1 Come up at A and insert the needle directly above, at B. Bring it out again at A and make a diagonal stitch to C. Come up below C, at D. Continue to the end of the row, finishing with an upright stitch. 2 Take the needle down again at C and bring it up at D to make a second upright stitch. Insert at B to make a diagonal stitch, then come up at A. Repeat this step until all the crosses are complete.

B A

Pass needle through holes made by first row

52

Bor de r St i t c he s

Herringbone

····· Other Names ····· Russian cross stitch; fishnet stitch ··········· Level ··········· Easy

Cross diagonal stitches at top and bottom

2

C

Keep stitches spaced evenly and equal in length

E

1

············ Uses ············ Decorative straight edging; base for composite stitches; in rows as open filling

C

······· Materials ······· Evenweave fabric; any embroidery thread

B

1 Come up at A, take the needle diagonally up to B and insert. Bring it out at C, making a small back stitch.

A

2 Take the needle down and insert at D, then bring it through at E. Repeat these two steps to the end of the row.

Closed Herringbone 2 ······ Other Name ······ Double back stitch

D

1

C

Stitches touch at top and bottom C

B E

D

··········· Level ··········· Intermediate ········· Method ········· Herringbone variation ············ Uses ············ Open border; in rows as lattice filling ······· Materials ······· Evenweave fabric; any thread; frame

A ····················· Stitch Variation ·····················

1 Come up at A and make a diagonal stitch across to B. Bring the needle out on the same level, at C. 2 Take the needle down to D and insert, then come through at E. Repeat these two steps to continue.

Shadow stitch is formed when closed herringbone stitch is worked on the reverse side of a semitransparent material. The design is outlined with back stitch and the crossed threads form a dense band of colour, which shows through the fabric. Mount fabric in a frame.

Borde r Stitche s

53

Basket 1

Keep needle horizontal A C

B

Work backward stitches into holes made by previous stitches

··········· Level ··········· Advanced ············ Uses ············ Straight bands and borders; in rows as a filling ········· Method ········· Alternate forward and backward stitches, worked downwards between two parallel lines ······· Materials ······· Any fabric; stranded thread gives a smoother finish

2 1 Come up at A to make the forward stitch. Insert the needle at B and bring it up, directly opposite, at C.

E

D C

2 The next stitch is worked backwards. Take the needle across to D and insert, then bring it through at E. Repeat these two steps to continue.

Wheatear 1

2 A

C Avoid catching thread or fabric with needle

B

··········· Level ··········· Intermediate ············ Uses ············ Straight or gently curved outlines; traditionally worked on smocks and childrens’ clothes; used singly as filling (see p.81) ········· Method ········· Looped stitch, worked from top to bottom ······· Materials ······· Any fabric; non-stranded threads give raised effect

D

3 1 Start at A and make a diagonal stitch down to B. Bring the needle up to the right of A, at C and insert it again at B. Come up directly below B, at D. 2 Slide the needle under both slanted stitches from right to left, and gently draw up the thread. 3 Take the needle down again at D. Come out below A at E, ready to work the next stitch.

D Do not pull thread too tightly

A

E D

Work next pair of diagonal stitches into base of loop

54

Bor de r St i t c he s

Russian Chain 1

Petal

1

Slope needle to right

A

··········· Level ··········· Easy

A

······ Other Name ······ Pendant chain stitch

B C

············ Uses ············ Straight or curved border; individually as powdered filling

C

B

D

··········· Level ··········· Intermediate ········· Method ········· Angled link stitches combined with a row of stem stitches

Pass needle over looped thread

········· Method ········· Worked in detached groups of three chain stitches

2

············ Uses ············ Curved and straight lines; in rows as filling

······· Materials ······· Any fabric; thick thread E

······· Materials ······· Any fabric; any thick thread

C

Bring needle out at an angle

2 F

A E

D

D Needle emerges to left of previous stitch

3

Make tie stitch to hold loop in place

Slope needle to left

E

3

A F

C

F Work stitches at regular intervals Ensure loops are same length

1 Work a chain stitch (see p.44) from A to B, bringing the needle out to the right of centre. Insert again at B, loop the thread from left to right and bring the needle out at C. 2 Insert the needle at D to make a tie stitch (see p.20), then bring the needle up inside the first loop, at E. 3 Make the third chain stitch at an angle from E to F in the same way. Finish with a tie stitch. Work the next and subsequent groups of stitches directly below the first.

1 Start at A and make a straight stitch to B. Bring the needle up at the centre of the stitch at C. Work a chain stitch (see p.44) from C to D. 2 Insert the needle at E to make a tie stitch (see p.20). Come out to the left of A at F. 3 Insert the needle again at the top of the loop, at C, and come out at A, ready to make the next pair of stitches.

Borde r Stitche s

Zigzag Chain 1 ······ Other Name ······ Vandyke chain ··········· Level ··········· Intermediate ············ Uses ············ Straight and gently curved lines and outlines

2

Needle lies at right angle to previous stitch Pass needle over thread

Anchor loop to fabric with next stitch

A B C

C

D E

········· Method ········· Chain stitches worked at alternate angles ······· Materials ······· Any fabric; twisted thread; sharp needle

55

Use sharp needle to pierce thread

1 Come up inside the previous stitch at A. Loop the thread from left to right and insert the needle at B so that it pierces the base of the stitch. Bring the needle out at C, over the working thread.

2 Loop the thread from right to left and insert the needle at D, through the base of the last stitch. Come out at E and continue making stitches at right angles. Finish off with a tie stitch (see p.20) over the final loop.

Rosette Chain ······ Other Name ······ Bead edging stitch ··········· Level ··········· Advanced

1

2 B

A

Avoid catching threads or fabric with needle

C

············ Uses ············ Straight or curved borders ········· Method ········· Twisted chain variation, worked horizontally ······· Materials ······· Any fabric; thick nonstranded thread

1 Start at A. Loop the thread from left to right and insert the needle at B. Come up at C and pull the needle through the loop. Slide the needle under the thread to the left of A from bottom to top, and pull through gently. 2 Insert the needle at D and come up through the loop at E, as before. Repeat to continue.

D E

Hold down loop as needle passes over thread

C

Make stitches small and compact to keep their shape

·········Technique Variation········· Work rosette chain in a circle to create a petalled flower motif. The stitches radiate from a central point and should be evenly spaced.

56

Bor de r St i t c he s

Loop

Flat Vandyke

1

1

B

······ Other Name ······ Centipede stitch

A

··········· Level ··········· Intermediate

C

············ Uses ············ Straight and curved lines; filling for leaf shapes

Ensure B and C are equidistant from A

2

A

············ Uses ············ Straight borders; gently curved outlines

2

········· Method ········· Overlapping pairs of extended cross stitches worked downwards

········· Method ········· Looped stitch worked horizontally D

······· Materials ······· Any fabric; any thread; blunt needle

··········· Level ··········· Intermediate

E

B

C B

C

······· Materials ······· Any fabric; any thick embroidery thread

D

A E

Work first two stitches to form broad cross

C

Keep needle parallel to first stitch

3

3

G Pass needle through fabric to maintain slant

F

E

E

1 Start at A. Make an upright stitch to B, then come out directly below A, at C. Slide the needle under the stitch from right to left, over the working thread. 2 Insert the needle level with B at D. Come up at E, keeping the needle below the working thread. 3 Pass the needle under the previous stitch from right to left, over the working thread. Repeat steps 2 and 3 to continue. Finish off by taking the thread through to the back at the centre of the final stitch.

1 Start at A. Make a diagonal stitch up to B and bring the needle out to the left of B, at C. 2 Take the needle down and insert level with A, at D. Come up below A, at E. 3 Pass the needle under the crossed stitches from F to G, picking up two threads of background fabric. Repeat steps 2 and 3 to continue.

Borde r Stitche s

Ladder

1

C

A

B E

D

······ Other Name ······ Step stitch

2

··········· Level ··········· Advanced ············ Uses ············ Broad straight lines ········· Method ········· Worked downwards between parallel lines ······· Materials ······· Any fabric; any thread; frame

Pass needle over working thread

Avoid catching threads or fabric with needle

E

3 E

Do not pull thread too tightly

D

4 Keep tension the same for each stitch

D

E G

F

5 G

1 Start at A. Make a horizontal straight stitch to B. Bring the needle out at C, then insert it at D. Come out below A, at E. 2 Slide the needle under the long stitch from top to bottom. Gently pull the thread through to the left, to form a knot. 3 Take the needle across to the right and slide it from right to left below the first two stitches. 4 Insert the needle below D, at F. Come up level with F, at G. 5 Pass the needle up behind the centre of the left knot from

right to left. Repeat from step 3 to continue.

57

58

Bor de r St i t c he s

Blanket 1 ······ Other Name ······ Open buttonhole stitch

A

C

Ensure thread lies under needle

········· Method ········· Looped stitch, worked horizontally

······· Materials ······· Woven fabrics or felt; any wool or thread

D

C

··········· Level ··········· Easy

············ Uses ············ Straight or curved borders and outlines; finishing edges; securing appliqué shapes; filling (see p.87)

2

B

1 Start at A. Take the needle up and insert

at B, then bring it out directly below and level with A, at C.

2 Pull the needle down over the working thread. Insert the needle at D then bring it out at E to make the next stitch. Repeat this step to continue. Finish off with a tie stitch (see p.20) over the final loop.

E

Keep stitches the same height and evenly spaced

··········· Stitch Variation ············· Buttonhole stitch is worked in the same way but the stitches lie next to each other to create a solid line. The background fabric is completely covered and will not fray, so it is ideal for cutwork (see pp112-113), and neatening hems and hand-worked buttonholes.

Single Feather

Closed Buttonhole

Work slanting stitches at consistent angle

··········· Level ··········· Easy B

··········· Level ··········· Easy ········· Method ········· Triangular blanket stitch variation, worked horizontally ············ Uses ············ Decorative edgings and borders; in rows as filling ······· Materials ······· Any fabric; any thread

A

C

D

Loop thread under needle

Come up at A and insert the needle at B. Bring it up close to A, at C. Pull the needle over the working thread. Re-insert at B and come up to the right at D. Pull the needle over the loop. Repeat to continue.

········· Method ········· Blanket stitch variation, worked downwards ············ Uses ············ Decorative edging; outlines and borders; in smocking; in rows as open filling ······· Materials ······· Any fabric; any embroidery thread

A

B C

Ensure thread lies under needle

Come up at A. Take the needle across to the right and insert it at B. Come out below A, at C. Pull the needle over the working thread. Repeat to continue.

Borde r Stitche s

Up and Down Buttonhole 2 ··········· Level ··········· Intermediate ········· Method ········· Buttonhole stitch variation, worked alternately upwards and downwards ············ Uses ············ Straight or curved lines and edgings; in rows as filling ······· Materials ······· Any fabric; any embroidery thread

Hold thread down under needle

1

B A

C

E

D

1 Start at A. Insert the needle at B and bring it out at C, as for step 1 of blanket stitch (see left). Insert the needle at D and bring it out at E, ensuring that the working thread lies under the point. Pull the needle upwards, so that the thread forms a loose loop. 2 Take the needle downwards, pulling gently until the loop tightens around the base of the two upright stitches. Repeat these two steps to continue.

1

Take thread across first stitch

A C

D

B

E

Pull needle through over thread

··········· Level ··········· Easy ········· Method ········· Looped stitch worked from top to bottom

······· Materials ······· Any fabric; any thread – finer threads give a lacy appearance; frame

Draw thread through carefully

Do not draw loop up completely

Open Cretan

············ Uses ············ Curved or straight lines; open filling

E

Space stitches evenly

2 E

1 Start at A. Take the needle down to

B, making a loose diagonal stitch, then come up at C. Insert the needle at D and bring it out below A, at E.

2 Take the needle down and insert at F, then come out at G. Repeat these two steps to continue, working the stitches alternately from left to right.

G

Ensure thread lies below needle

F

59

60

B or de r St i t c he s

Feather 1

A

Ensure thread lies under needle

B C

····· Other Names ····· Briar stitch; single coral stitch

A C D E

Do not pull loop too tightly

·········· Level ··········· Easy ··········· Uses ············ Smocking; hems; crazy patchwork; with ribbon embroidery

2

3 E

········· Method ········· Looped stitch, worked alternately from left to right in straight or curved lines

Make all outside stitches point in same direction

F G

······· Materials ······· Any fabric; any thread

1 Start at A and insert the needle to the right, at B, leaving a thread loop. Bring the point out over the thread at C and pull through. 2 Insert the needle to the left of C, at D. Come out directly below A, at E, and pull through over the loop. 3 Insert the needle at F and bring it out at G, over the loop. Repeat steps 2 and 3 to continue. Finish off with a tie stitch (see p.20) over the final loop.

Closed Feather ·········· Level ··········· Easy ··········· Uses ············ Straight lines and borders; in rows as open filling ········· Method ········· Feather variation worked downwards ······· Materials ······· Any fabric; thick threads will give a textured effect

2

1

Ensure upright stitches meet to form solid line C

B C

A D

A Work stitches alternately from left to right

Keep needle vertical

1 Come up at A. Take the needle diagonally up to the left and insert at B. Bring the point out over the working thread at C and pull through. 2 Re-insert the needle at A, bring it out at D and pull through over the working thread. Repeat these two steps to continue. Finish off with a tie stitch (see p.20) over the last loop.

Borde r Stitche s

Double Feather 1

D

F

A C

B

Work first three stitches in same direction

········· Method ········· Looped stitch, worked alternately from left to right ······· Materials ······· Any fabric; fine thread will give a lacy effect

G

Keep all stitches same length

·········· Level ··········· Easy ··········· Uses ············ Foliage and branches; decorating children’s garments

2

E G

····· Other Name ····· Thorn and briar stitch

61

I

H

Work stitches to form a broad zigzag

3

1 Work the first two stitches as for feather stitch (see p.60), then make a second stitch to the left. Insert the needle level with E at F, and come out at G. Pull the needle through over the loop. 2 Take the needle across to the right and insert at H. Come out at I and pull through over the loop.

I

3 Make a second stitch to the right; take the needle down at J, bring it out at K and pull through over the loop. Continue working downwards, making two stitches one side, then the other.

J K

Chained Feather 1 ····· Other Names ····· Feathered chain stitch

2 A B

D

B C

·········· Level ··········· Intermediate ··········· Uses ············ Decorative borders; foliage ········· Method ········· Row of slanting picot stitches set at alternate angles ······· Materials ······· Any fabric; any thread

Make chain and straight stitches same length

3 A

Ensure thread lies under needle

1 Come up at A and make a left-slanting chain stitch (see

p.44) at an angle from A to B. Pull the needle through over the working thread.

2 Insert the needle at C and bring it out at D. 3 Work a right-slanting chain stitch from D to C. Take the

needle down at E and come out directly below A, at F. Repeat these three steps to continue.

D C

F E

Composite Border Stitches T

his is the most decorative group of stitches which can be worked in single rows, or repeated to create multi-coloured fillings with intricate surface textures. Basic outline and border stitches are embellished with interlacing to create some of them, and others are a combination of two or even three stitches. Magic and Singalese chain are flexible stitches which can be sewn along a curved line, but the rest are all made in straight rows. Use a blunt needle for any interlacing and mount the fabric in an embroidery frame, so that the stitches do not become distorted.

Pekinese 63 Backstitched Herringbone 66 Laced Buttonhole 63 Raised Lattice Band 66 Interlacing Band 63 Double Herringbone 67 Magic Chain 64 Twisted Lattice Band 67 Singalese Chain 64 Butterfly Chain 68 Threaded Chain 65 Raised Chain Band 68 Guilloche 65 Diagonal Woven Band 69 Raised Chevron 66 Striped Woven Band 69 Portuguese Border 69

C om p os ite Borde r Stitche s

Pekinese

Laced Buttonhole Make loops same size

····· Other Names ····· Chinese stitch; forbidden stitch ·········· Level ··········· Easy

C

Lace under alternate stitches at top and bottom

B

······· Materials ······· Any fabric; lacing can be worked in thicker thread; blunt needle

B

····· Other Name ····· Threaded buttonhole stitch

A Pull needle over working thread

··········· Uses ············ Decorative curved and straight outlines; in rows as filling ········· Method ········· Laced back stitch, worked horizontally

Work a row of back stitch (see p.40). Bring the lacing thread out at A. Slide the needle upwards beneath B, then pass it downwards under C. Draw the thread up gently and continue lacing to the end of the row.

C

A

·········· Level ··········· Easy ··········· Uses ············ Decorative straight edgings and borders ········· Method ········· Two rows of blanket stitch with interlacing ······· Materials ······· Any fabric; any thread in two colours; frame; blunt needle

Work two parallel rows of blanket stitch (see p.58) with the upright stitches pointing inwards. Bring the lacing thread out at A. Slide the needle under B, then beneath C. Continue lacing to the end of the row.

Interlacing Band 1 ····· Other Names ····· Double Pekinese stitch; herringbone ladder stitch ·········· Level ··········· Intermediate ··········· Uses ············ Braided straight lines ········· Method ········· Two rows of back stitch with looped interlacing ······· Materials ······· Any fabric; any two threads in the same or different thicknesses; frame; blunt needle

63

C A

Ensure needle crosses thread

2

B

F

D

D E

Use blunt needle for interlacing

1 Work two parallel lines of back stitch (see p.40), starting the bottom row with a half-length stitch. Bring the lacing thread out at A. Pass the needle upwards beneath B, then slide it downwards under both C and D. 2 Take the needle to the left and slide it under E and F, then pull through. Continue lacing up and down to the end of the row.

··········Technique Variation·········· To create a wider, more open border, work the twisted interlacing over two rows of blanket stitch (see p.58), again using two colours.

64

C om p osi t e B or d er S t it c h e s

Magic Chain

2

1 A

····· Other Names ····· Chequered chain stitch; two-coloured chain stitch ·········· Level ··········· Intermediate

B Ensure first thread lies under needle

Ensure second thread lies under needle

··········· Uses ············ Straight or curved outlines ········· Method ········· Chain stitch variation worked with two threads ······· Materials ······· Any fabric; two contrasting threads in the same weight; long-eyed needle

C

1 Thread the needle with both colours. Come up at A. Loop both threads from left to right and re-insert the needle at A. Bring the point out at B, over the first colour loop. Pull through gently; the second thread will slip to the back. 2 Loop the threads from left to right and re-insert the needle at B. Bring the point out at C, over the second colour loop: pull through. Repeat the steps to the end of the row. Finish with a tie stitch (see p.20) over the last loop.

Singalese Chain 1

2 A

C E

·········· Level ··········· Advanced ··········· Uses ············ Decorative borders; curved or straight outlines; casing for narrow ribbon ········· Method ········· Square chain stitch worked downwards over contrasting threads ······· Materials ······· Any fabric; any two different coloured threads of equal weight

B

Pass needle over both threads

D B

Keep laid threads inside chain loop

E

F

G Do not pull thread too tightly

1 Bring two lengths of the first thread out at A and B. Position them along the line to be worked and take the ends through to the back without fastening off. Bring the second thread out at C. Pass the needle under the laid threads from left to right and insert it at D. Bring the point out over the thread loop at E. 2 Pull the needle through and insert to the right of E, at F, then bring it out at G, ready to work the next stitch. Repeat this step to continue, easing the laid threads into position. Fasten down the final loop with two tie stitches (see p.20) and finish off the laid threads on the reverse side.

Avoid catching laid thread with point of needle

C om p os ite Borde r Stitche s

Threaded Chain 1

65

Use blunt needle to avoid catching threads

A

·········· Level ··········· Intermediate ··········· Uses ············ Light borders or outlines ········· Method ········· Row of link stitches with double interlacing ······· Materials ······· Any fabric; any three threads in the same or different colours and weights; blunt needle

2 1 Work a foundation of evenly-spaced link stitches (see p.80) in the main colour. Thread the blunt needle with a contrasting colour and come out at A. Slide the needle downwards under the first stitch, then upwards beneath the second stitch. Continue to the end of the row.

B

A

C

Use thick thread to give raised appearance to interlacing

2 Finish off at B. Bring the third colour out at C and lace it alternately up and down under the link stitches, filling in the spaces.

Guilloche 1

A

B

2

E C

·········· Level ··········· Advanced

Work out positions of each line and group of stitches before beginning

··········· Uses ············ Multi-coloured straight borders and edgings ········· Method ········· Combination of stem and satin stitches with French knots and interlacing ······· Materials ······· Evenweave fabric; thick thread in three colours; blunt needle

D

3

Use blunt needle to avoid catching threads

1 Using the main colour, work two parallel lines of stem stitch (see p.41) from A to B and from C to D. Work groups of three short satin stitches (see p.86) at regular intervals between the lines, starting at E. 2 Interlace the satin stitches with contrasting threads as for threaded chain stitch (see above). 3 Finish off by working a French knot (see p.76) in the centre of each loop, using the third thread.

66

C om p osi t e B or d er S t it c h e s

Raised Chevron Points of arrowheads face inwards

·········· Level ··········· Intermediate ··········· Uses ············ Straight outlines and light borders ········· Method ········· Chevron stitch worked over two lines of arrowhead stitches ······· Materials ······· Any fabric; thicker thread gives more texture – choose two contrasting colours

Backstitched Herringbone

A

C E Ensure stitches are spaced evenly

Stitch two parallel rows of arrowheads (see p.73) in the first colour. Bring the second thread out at A and work a band of chevron stitch (see p.49) from left to right, so that the horizontal stitches lie across the points of the arrowhead stitches.

D A

·········· Level ··········· Easy

B

Work back stitches over crossed threads

··········· Uses ············ Open borders; in rows as a lattice filling ········· Method ········· Herringbone stitch with back stitch detail

Work a line of herringbone stitch (see p.52). Using the second thread, make a back stitch from A to B. Bring the needle up at C, insert at D, and come out at E. Continue to the end of the row.

······· Materials ······· Any fabric; two contrasting threads in the same or different weights

Raised Lattice Band 1 ·········· Level ··········· Advanced

2

Work upright stitches close together

A

··········· Uses ············ Decorative borders ········· Method ········· Interlaced herringbone stitch worked over padded satin stitch ······· Materials ······· Any fabric; lustrous thread in three colours; blunt needle; frame

Ensure lacing is not pulled too tightly

1 Work a foundation of long horizontal surface

satin stitch (see p.86). Work a row of upright satin (see p.86) from left to right over the base stitches.

2 Bring the second thread up at A and work a row of herringbone stitch (see p.52). 3 Thread the blunt needle with the third colour thread. Come up at A and slide the needle upwards, under the centre of the first long diagonal stitch. Take it back down under the second stitch from top to bottom. Continue lacing to the end of the band.

3 A

C om p os ite Borde r Stitche s

Double Herringbone 1 C

··········· Uses ············ Geometric border; in rows as open filling ········· Method ········· Two interlaced rows of herringbone stitch ······· Materials ······· Any fabric; any thick thread in two colours

G

J

I

F H

····· Other Name ····· Indian herringbone stitch ·········· Level ··········· Advanced

B

2

C

A

E

Slide needle under previous stitch

D

1 Start at A and make a diagonal stitch to B. Bring the needle out at C, pass it under the stitch and take it down at D. Come out at E and insert at F. Bring the needle out at G and slide it under the last stitch. Continue to the end of the row.

3

Pass needle under previous stitch and over next

J

2 Bring the contrast thread up directly below C, at H. Slide the needle under the second stitch and insert at I. Come out at J and pass the needle under the previous stitch.

L

3 Insert the needle at K and come out at L. Take it over the first thread and under the second. Repeat steps 2 and 3 to continue.

Twisted Lattice Band Do not pull lacing thread too tightly

1 ·········· Level ··········· Advanced

C D

B A

Always pass needle under stitch

2 E

··········· Uses ············ Ornamental border; in rows as filling ········· Method ········· Double herringbone stitch with two rows of interlacing ······· Materials ······· Any fabric; any thick thread in two colours

1 Work a foundation of double herringbone stitch (see above) in the first colour. Bring the lacing thread out at A. Pass the needle downwards under B, then upwards under C. Slide it beneath the next stitch, at D, from top to bottom. 2 Continue weaving the thread under and over the top stitches to the end of the row. Bring the thread out at E and interlace the bottom stitches in the same way to complete.

Take thread over crossed stitches

K

67

68

C om p osi t e B or d er S t it c h e s

Butterfly Chain A C

·········· Level ··········· Intermediate

E G

··········· Uses ············ Light frames or borders ········· Method ········· Twisted chain stitch worked over groups of three straight stitches, without piercing fabric ······· Materials ······· Any fabric; thick thread in two colours; blunt needle

A

B D F

1

Keep stitches parallel

2 Pass needle over working thread

Space stitch groups evenly

1 Start at A, and make a horizontal stitch across to B. Work two more stitches directly below, from C to D and E to F, then bring the needle out at G to work the next group of three stitches.

Raised Chain Band

2 Using the contrast thread, work a twisted chain stitch (see p.44) over each group of horizontal stitches. Come through at A and loop the thread to the right. Slide the needle under all three stitches and pull it through. Tighten the thread to draw the stitches together. Keep needle to left of working thread

D

Do not space stitches too far apart

····· Other Name ····· Raised chain stitch ·········· Level ··········· Intermediate ··········· Uses ············ Heavy borders ········· Method ········· Chain stitch worked over straight stitch foundation, without piercing fabric ······· Materials ······· Any fabric; any thick thread in two colours; blunt needle

2

1 A

B

C

1 Work a stack of short parallel stitches. Bring

the needle out at A and take it down at B. Come up at C and continue working downwards.

2 Bring the second thread out at D. Pass the needle under the first stitch from bottom to top. 3 Loop the thread to the right. Slide the needle

downwards under the first stitch, to the right of D. Repeat steps 2 and 3 to the end of the stack.

Pass needle over working thread

3

D

Do not pull thread up too tightly

C om p os ite Borde r Stitche s

Diagonal Woven Band 1

2

A

·········· Level ··········· Advanced ··········· Uses ············ Dense striped border or frame ········· Method ········· Two contrasting threads woven through row of straight stitches ······· Materials ······· Any fabric; any two twisted threads; two blunt needles

Pull needle through over dark thread

1 Work a stack of straight stitches (see p.68, raised chain band step 1). Bring the dark thread up at A, pass the needle under the second stitch and take it to the right. Bring the light thread up at A. Slide the needle to the left below the first stitch and the dark thread, then take it under the third stitch and across the dark thread. 2 Continue weaving downwards, taking the two threads alternately under and over the straight stitches. Work the following rows in the same way, alternating the colour of the first stitch.

Portuguese Border 1 ·········· Level ··········· Advanced ··········· Uses ············ Raised borders ········· Method ········· Diagonal stitches woven over straight stitch foundation ······· Materials ······· Any fabric; twisted thread in two colours; blunt needle

Work with long threads to avoid joins

Keep working thread at left side

B A

············Stitch Variation············ To work striped woven band stitch, start every twisted line with the same colour thread, to create solid blocks of alternate colours.

Use blunt needle to avoid catching fabric or threads

Anchor horizontal stitches with satin stitches

1 Work a stack of horizontal stitches (see p.68, raised chain band step 1). Bring the second thread up at A and make three satin stitches (see p.86) over the first two stitches. Come out at B and slide the needle downwards under the next two horizontal stitches, making a slanting stitch. Pass the needle under the third horizontal stitch again, to make a second stitch. Continue upwards, working pairs of slanting stitches. 2 At the top of the stack, take the needle down at C and out at D. Pass it upwards under the top two stitches. Continue as before, slanting the stitches in the opposite direction.

2

C

D

B

Keep thread to right of stitches

69

F illing S titcheS Powdered Filling and iSolated StitcheS

.........

..........

oPen and Solid Filling StitcheS

Powdered Filling and Isolated Stitches T

hese detached stitches are all worked singly and vary considerably in size. The larger versions are often used as accent stitches, while the smaller ones are repeated to form a powdered filling. The stitches can be arranged in several ways: in regular rows to form straight lines and geometric patterns; scattered randomly; spaced apart to allow the background fabric to show through, or sewn close together to form a dense, textured surface. A design usually requires a powdered filling to be contained within an area which has been defined with an outline or border stitch.

Straight 73 Arrowhead 73 Dot 73 St George Cross 73 Ermine 74 Square Boss 74 Star 74 Woven Star 75 Woven Cross 75 French Knot 76 Pistil 76 Bullion Knot 76 Danish Knot 77 Four-legged Knot 77 Sword 77

Fly 78 Sheaf Filling 78 Crown 78 Sorbello 79 Palestrina Knot 79 Link 80 Lazy Daisy 80 Berry 80 Picot 80 Detached Wheatear 81 Tulip 81 Woven Spider Web 82 Ribbon Rose 82 Ribbed Web 82 Buttonhole Wheel 82 Shisha 83

Pow de re d Fil l ing and Is ol ate d Stitche s

Straight

Work each stitch in a different direction

A C

·········· Level ··········· Easy

B

····· Other Name ····· Stroke stitch ·········· Level ··········· Easy ············ Uses ············ Foliage; textured filling ········· Method ········· Randomly placed single stitches of varying length ······· Materials ······· Any fabric; any thread

Arrowhead

Avoid making stitches too long

Come up at A. Take the needle down to B and insert, then bring it out at C. Continue working straight stitches in a random pattern to fill the required area.

Dot

C

B

············ Uses ············ Powdered filling; worked in vertical or horizontal rows as border stitch

A

Slanting stitches form ‘V’ shape

········· Method ········· Two straight stitches worked at a right angle ······· Materials ······· Any fabric; thick threads create raised effect

Start at A. Make a diagonal straight stitch up to B, then come out again at A. Insert the needle at C to complete.

St George Cross Make stitches same length C A

····· Other Name ····· Backstitched seeding ·········· Level ··········· Easy ··········· Uses ············ Powdered filling; worked in rows as outline ········· Method ········· Pairs of short, closely spaced back stitches ······· Materials ······· Any fabric; pearl thread makes stitches stand out

B D A C E Work stitches in different directions

Come up at A. Insert the needle at B and bring it out at C. Insert at D to complete the second stitch, then bring the needle up at E to work the next pair of stitches.

B D

····· Other Name ····· Upright cross stitch ·········· Level ··········· Easy ············ Uses ············ Geometric or random fillings; isolated stitch ······· Materials ······· Any fabric; twisted threads give raised effect

Ensure second stitch crosses centre of first stitch

Start at A and work a horizontal straight stitch across to B. Come out at C. Take the needle down over the first stitch and insert at D to complete the cross.

73

74

Powde r e d F i l l in g a n d Is o l at ed S t it c h es

Ermine

Square Boss Ensure crossed stitches are further apart at top than bottom

B D

A

C A

·········· Level ··········· Easy

E

············ Uses ············ Scattered or regular filling; in rows as border; isolated stitch; in blackwork ········· Method ········· Wide cross stitch worked over upright straight stitch ······· Materials ······· Evenweave fabric for a regular effect; any thread

····· Other Name ····· Raised knot

F

C

B

············ Uses ············ Light fillings; in rows as border; isolated stitch ········· Method ········· Cross stitch covered by back stitch square

Start at A and work a vertical straight stitch to B. Bring the needle out at C and insert at D. Come out at E. Take the needle across the two stitches and insert at F to complete.

······· Materials ······· Any fabric; thick thread gives raised texture

Star 1

············ Uses ············ Scattered as light filling; in rows as border; isolated stitch

Make a cross stitch (see p.50). Bring the needle out at A and take it down at B. Come out at C and insert at A. Bring the needle out at D and insert at C. Work a back stitch from B to D to complete.

3

G

F

E

H

A

C

·········· Level ··········· Intermediate

Cover each arm of cross with a back stitch

·········· Level ··········· Intermediate

D

B

2 Ensure both crosses are equal in size

D E C

········· Method ········· Elongated cross stitch worked over St George cross and cross stitches

1 Make a St George cross stitch (see p.73). Bring the needle out at A, and work a diagonal stitch down to B. Come out to the left of B, at C.

······· Materials ······· Any fabric; any thread

Come out near the centre of the stitch at E.

2 Take the needle diagonally up to D and insert.

3 Insert the needle at F, then bring it out to the left at G. Take it down at H to complete the cross.

Anchor star with central cross stitch

·········Technique Variation········· For a decorative effect, stitch the small cross in the centre of the star (see step 3) using a different coloured thread.

Pow de re d Fil l ing and Is ol ate d Stitche s

Woven Star 1

2

A C

D

D

·········· Level ··········· Intermediate ··········· Uses ············ Powdered filling; isolated stitch

3

Make each stitch same length

A

········· Method ········· Five interwoven straight stitches

E

Pass needle over first stitch

E

B

1 Start at A and work a diagonal stitch down to B. Come out at C and re-insert at B. Bring the needle up again at C and slide it under the first stitch. Insert at D and come out at E.

E

2 Take the needle over the first thread and under the second, then re-insert at D.

······· Materials ······· Any fabric; any thread

3 Come out again at E. Slide the needle over the first thread, under the second and insert at A.

Woven Cross 1

2 C

B C

··········· Level ··········· Intermediate ··········· Uses ············ Powdered filling; isolated stitch ········· Method ········· Four interwoven straight stitches ······· Materials ······· Any fabric; any thick thread

75

A

D

Ensure cross stitch forms perfect square

D Slide needle under first stitch

1 Work a cross stitch (see p.50) from A to B and C to D. Bring the needle back up at A, insert it again at B and come out at D. 2 Pass the needle under the first thread and over the second, then insert at C to complete the cross.

76

Powde r e d F i l l in g a n d Is o l at ed S t it c h es

French Knot 1

2 A A

·········· Level ··········· Intermediate ··········· Uses ············ Light or solid powdered filling; singly as raised highlight ········· Method ········· Twisted knotted stitch ······· Materials ······· Any fabric; any thread depending on size; small-eyed needle

Hold thread to keep it taut

············Stitch Variation············

1 Start at A. Hold the thread taut and wrap it

twice around the needle, then pull it gently to tighten the loops.

2 Maintaining the tension, insert the needle again at A, pushing it down through the two loops to form a round knot.

To work pistil stitch, insert the needle a short distance from where it emerged, to form a long tail. Make eight stitches in a circle to create a flower centre or floral shape.

Bullion Knot 1

2 A

····· Other Names ····· Caterpillar stitch ·········· Level ··········· Intermediate ··········· Uses ············ Powdered filling; accent stitch; in rows as border ········· Method ········· Long twisted knot ······· Materials ······· Any fabric; any twisted embroidery thread

Take needle down at point where it emerged

A

B

Hold coiled thread in place as needle is pulled through

1 Start at A. Take the needle down at B and bring the point back through at A. 2 Wrap the thread six times around the needle, holding the loops down with a finger. Using the other hand, pull the needle carefully through the fabric and the coiled thread. 3 Take the needle back down at C and pull the working thread up so that the loops lie flat.

Pull thread up gently

3 A

B

C

Pow de re d Fil l ing and Is ol ate d Stitche s

77

Danish Knot 2

1 A B

C

Pull loop up gently to form first part of knot

·········· Level ··········· Intermediate ············ Uses ············ Powdered filling; triangular accent stitch

3

········· Method ········· Looped knot worked over short diagonal stitch

C

Pull needle over working thread

1 Start at A and work a short diagonal stitch down to B. Bring the needle out at C and slide it under the stitch from right to left.

C

······· Materials ······· Any fabric; thick twisted thread

2 Take the needle across to the right of the knot. Pass it under the diagonal stitch from right to left for a second time. 3 Insert the needle at C to complete the knot.

Four-legged Knot 1

Sword Ensure B is equidistant from A and C

A

C B

····· Other Name ····· Knot stitch ·········· Level ··········· Intermediate ············ Uses ············ Powdered filling; isolated stitch ········· Method ········· Upright cross with knotted centre ······· Materials ······· Any fabric; any thick thread

2

B C

A

D

C

1 Start at A and work an upright stitch down to B. Come out at C. Loop the thread to the left, and slide the needle under the stitch. 2 Pull the thread gently to form a knot. Insert the needle at D to complete the stitch.

·········· Level ··········· Easy

D

············ Uses ············ Worked randomly as light filling; in rows as border ········· Method ········· Looped, elongated cross ······· Materials ······· Any fabric; any thick thread

Start at A and work a loose diagonal stitch up to B. Bring the needle out at C and slide it under the stitch from right to left. Take it down at D, pulling gently so that the two stitches form a cross.

78

Powde r e d F i l l in g a n d Is o l at ed S t it c h es

Fly

Sheaf Filling 1

A

Pull stitches together to create sheaf effect

B C

A C E

····· Other Names ····· Y-stitch; open loop stitch ·········· Level ··········· Easy

2

············ Uses ············ Light or heavy filling; worked in horizontal or vertical rows as border ········· Method ········· Tied loop stitch ······· Materials ······· Any fabric; any thick thread

G

Pull needle over working thread

·········· Level ··········· Intermediate C D

············ Uses ············ Powdered filling; in rows as border; isolated stitch

1 Start at A and work a loose horizontal stitch across to B. Bring the needle out at C. 2 Take the needle down at D to make a tie stitch (see p.20).

········· Method ········· Three upright straight stitches tied at the centre ······· Materials ······· Any fabric; any thick thread

B D F

Make three parallel straight stitches from A to B, C to D and E to F. Come up at G and pass the needle to the left, under the first stitch. Take the needle across to the right and slide it back under the stitches. Take it to the right again and pull the thread up gently. Insert at G to complete.

Crown 1

E

Space three lower stitches evenly

C A D

·········· Level ··········· Intermediate ············ Uses ············ Powdered filling; in rows as border; isolated stitch ········· Method ········· Looped stitch tied down with three straight stitches ······· Materials ······· Any fabric; any thick thread

B

2 E

Bring needle up just inside stitch

1 Work a loose horizontal straight stitch. Come out above the thread at A and insert the needle at B, pulling the loop downwards. Come out at C, take the needle over the thread and insert at D, then come out at E. 2 Take the needle down over the thread and insert at F to complete the stitch.

F

Straight stitches anchor loop in place

Pow de re d Fil l ing and Is ol ate d Stitche s

Sorbello

2

1 ·········· Level ··········· Intermediate

Ensure C is directly below A

A

Insert needle to right of first loop

B

············ Uses ············ In straight rows as filling; in rows as border; isolated stitch ········· Method ········· Heavy square knot ······· Materials ······· Any fabric; twisted or pearl threads give a raised effect

C

C

Pull needle over working thread

1 Start at A and work a short stitch to B.

Bring the needle out below A, at C, and slide it under the stitch from bottom to top.

3 B

2 Hold the thread down to the left and pass the needle under the stitch again, this time from top to bottom.

D

C

3 Pull the thread gently to make a knot, then insert the needle below B at D to complete the stitch.

Palestrina Knot 1

2

B A

C

C

·········· Level ··········· Intermediate ············ Uses ··········· Geometric filling; worked in rows as border; isolated stitch ········· Method ········· Rectangular looped knot ······· Materials ······· Any fabric; any thick thread

Pass needle over working thread

1 Start at A and work a diagonal stitch to B. Bring the needle out level with A, at C, and slide it under the stitch from top to bottom. 2 Pass the needle under the diagonal

stitch again, from top to bottom and to the right of the first loop.

3 Pull the thread gently to form a knot,

then take the needle down diagonally opposite C, at D, to complete the stitch.

3

Ensure D is level with B and directly above A

D

A

B C

79

80

Powde r e d F i l l in g a n d Is o l at ed S t it c h es

Link

2

1 A

B C

Tie stitch secures loop

B

····· Other Name ····· Detached chain stitch ·········· Level ··········· Easy ············ Uses ············ Scattered as light filling; leaves and flower petals ········· Method ········· Single looped stitch ······· Materials ······· Any fabric; any thread

Hold thread down to side of needle

·············Stitch Variation·············

1 Start at A. Make a loop and take the needle down at A. Come out at B and pull the needle through over the working thread. 2 Insert the needle directly below B, at C, making a tie stitch (see p.20) to complete.

Berry

Lazy daisy stitch is formed by making several link stitches in a circle, all starting at the centre. Each stitch represents a petal and the whole looks like a flowerhead.

Picot

Work elongated tie stitch to form tail

Hold thread down while making outer loop A B

·········· Level ··········· Intermediate

C

············ Uses ············ Powdered filling; flowers and leaves ········· Method ········· Double link stitch ······· Materials ······· Any fabric; any thread

A

····· Other Name ····· Long-tailed daisy stitch ·········· Level ··········· Easy ············ Uses ············ Powdered filling; in circles as floral motif

Make a small link stitch (see above). Bring the needle out at A and slide it under the tie stitch between B and C. Take the needle back up and insert at A to complete the stitch.

B

C

········· Method ········· Link variation with long tie stitch ······· Materials ······· Any fabric; any thread

Start at A and follow step 1 of link stitch (see above). Take the needle down below B, at C, to make a long tie stitch.

Pow de re d Fil l ing and Is ol ate d Stitche s

Detached Wheatear C

1

A C

····· Other Names ····· Tete-de-boeuf stitch; ox-head stitch

········· Method ········· Link stitch worked over loose straight stitch ······· Materials ······· Any fabric; any thread

3

Ensure C is equidistant from A and B

·········· Level ··········· Intermediate ············ Uses ············ Powdered filling; isolated stitch

2

B

Bring needle out directly below C

D

1 Start at A. Insert the needle at B and bring it out at C, passing over the working thread.

D E

2 Make a loop and take the needle down

at C. Come out at D, passing the needle over the working thread.

3 Take the needle down at E to form a short tie stitch (see p.20) to complete.

Tulip 1

A B

D

·········· Level ··········· Intermediate

E

D

C

············ Uses ············ In alternate rows as powdered filling; naturalistic flowers

Ensure E is level with D

········· Method ········· Straight stitch worked through link stitch ······· Materials ······· Any fabric; any thread

2

·········Technique Variation·········

1 Start at A and work a picot stitch (see p.80). Take the needle down at C and bring it out to the left, at D. 2 Pass the needle under the tie stitch and insert it at E to complete the ‘leaves’.

Make a slanting straight stitch on either side of the picot stitch, instead of a single one passing beneath the tie stitch (see step 2 above). This creates the effect of two separate leaves at the base of the flower.

81

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Powde r e d F i l l in g a n d Is o l at ed S t it c h es

Woven Spider Web 1 C

A

Space stitches evenly

2

B

·········· Level ··········· Intermediate

A

··········· Uses ············ Isolated stitch; large-scale powdered filling ········· Method ········· Solid circle woven on foundation of seven straight stitches ······· Materials ······· Any fabric; any thread in two colours; blunt needle

1 Work a foundation of five straight stitches (see p.73), all radiating from A. Bring the needle up at B and take it back down at A. Come out at C, ready to work the final stitch. 2 Bring the second thread up at A. Working clockwise, weave it alternately over and under the straight stitches until only the tips are left uncovered. Take the needle to the back to finish.

Ribbed Web

Do not pull thread too tightly

·············Stitch Variation············· To make a ribbon rose, use a length of narrow silk embroidery ribbon for the weaving in step 2 (see above). Allow it to twist slightly to create the raised petal effect.

Buttonhole Wheel Space stitches evenly around outer circle

A

····· Other Name ····· Ribbed spider web ·········· Level ··········· Intermediate ··········· Uses ············ Isolated stitch ········· Method ········· Back stitched spiral over large star stitch ······· Materials ······· Any fabric; any thick thread in two colours; blunt needle

Work in anticlockwise direction

Work a star stitch (see p.74) omitting the final cross. Come up at A. Slide the needle under the first two stitches to the left, then take it under the second and third stitches, making a back stitch (see p.40). Continue working round the star stitch until only the tips can be seen.

·········· Level ··········· Intermediate ··········· Uses ············ Isolated stitch ········· Method ········· Buttonhole stitch worked within a ring ······· Materials ······· Any fabric; any thread

A

B C

Mark two concentric circles. Come up at A, and insert the needle at B on the inner circle. Bring the needle out at C, passing it over the working thread. Continue stitching until the ring is complete.

Pow de re d Fil l ing and Is ol ate d Stitche s

Shisha

Work diagonal stitches over straight stitches

Make four straight stitches to anchor mirror

1

AI

F

H

2

G

I

P

N

·········· Level ··········· Advanced

C

······· Materials ······· Any fabric; any thick thread; shisha mirror; frame

L

Pass needle over working thread

3

Q

J

O

E

B

··········· Uses ············ Indian embroidery; with couched gold threads ········· Method ········· Mirror disc attached to fabric with ring of twisted stitches

D

K

M

Ensure thread lies under needle

4

P S R

Q

1 Place the mirror in position. Start at A and work a straight stitch down to B. Come out at C and insert at D. Come up at E and down at F, then come out at G and go down at H. Bring the needle up at I, ready to start the next four stitches.

5 S

2 Take the needle down to J to make a diagonal stitch. Bring it out at K and insert at L. Come out at M, down at N, out at O, then take the needle up to P and insert. 3 Bring the needle out at Q, just outside the straight stitches and pass it beneath the threads from right to left. 4 Insert the needle at R and bring it up at S, to make a small back stitch. Pull it through over the working thread. Keep tension even when working twisted stitches

5 Slide the needle back under the straight stitches and pull it through gently over the looped thread. Repeat steps 4 and 5 all the way around the mirror to complete.

83

Open and Solid Filling Stitches B

oth types of filling are stitched within a marked outline, which may be a curved naturalistic shape or a geometric block. Open fillings allow the background to show through, whereas solid fillings produce a densely stitched area and should be worked in a thick thread that covers the fabric completely. Some of these stitches have evolved as shading stitches, using several closely toning threads. With practice, these can produce subtle, three-dimensional effects, especially for flowers and foliage. The fabric should be mounted in a frame for all filling stitches.

Darning 85 Double Darning 85 Brick and Cross 85 Satin 86 Surface Satin 86 Encroaching Satin 86 Long and Short 87 Buttonhole Filling 87 Stem Filling 87 Leaf 88 Open Fishbone 88 Attached Fly 89

Close Fly 89 Cretan 89 Close Cretan 89 Romanian Couching 90 Bokhara Couching 90 Spiral Couching 90 Couched Filling 91 Laidwork 91 Back Stitch Trellis 92 Japanese Darning 92 Cloud Filling 93 Wave Filling 93

Op e n and Sol id Fil l ing Stitche s

Darning

85

Double Darning Work stitches to form vertical ridges CB

A

····· Other Name ····· Damask stitch ·········· Level ··········· Easy ············ Uses ············ Solid filling patterns; geometric bands ········· Method ········· Closely spaced rows of running stitch ······· Materials ······· Evenweave fabric; any thread

·········· Level ··········· Intermediate ············ Uses ············ Solid filling stitch that appears the same at front and back

Work stitches so that spaces between them create a pattern

Come up at A, to the right of the start of the stitch above. Insert the needle at B, to the right of the end of the stitch above. Bring the needle up one thread to the left, at C. Repeat, always following the previous line of stitching.

Brick and Cross 1

A C E G

B D F

Work a row of evenly spaced running stitches (see p.39), from A to B, C to D and E to F. Fill in the spaces on the return journey; bring the needle back out at E, insert at D and come out at C. Work the following rows directly above.

······· Materials ······· Evenweave fabric; any thread

2

·········· Level ··········· Intermediate

Space stitches equally

············ Uses ············ Open geometric filling

1 Make three parallel straight stitches from A to B, C to D and E to F. Bring the needle out at G. Work a diagonal stitch to H, then come out directly below G, at I.

······· Materials ······· Evenweave fabric; any thread

Ensure each row of stitches lines up with previous one

········· Method ········· Double running stitch in closely spaced rows

I H

········· Method ········· Alternate cross and groups of straight stitches, worked in vertical rows

E D C B

F

E I

J

K

K lies directly below E

3

Ensure top diagonal stitches lie in same direction

2 Insert the needle at J to complete the cross stitch. Bring the needle out to the left of I, at K. 3 Insert at L, then make two more straight

stitches. Come out level with L, at M, and insert at N. Bring the needle out at O and insert it at P to complete the second cross stitch. Come out at Q to begin the next three straight stitches.

Q K

L M P O

N

A

86

O p e n an d Solid F ill in g S t it c h es

Satin 1

2

Split stitch creates padded edge D B E

····· Other Name ····· Damask stitch

C A

Work each stitch at same angle

·········· Level ··········· Intermediate ············ Uses ············ Solid filling; bands ········· Method ········· Closely worked straight stitches ······· Materials ······· Any fabric; any thread – stranded silk or cotton gives lustrous finish

1 Outline the area to be covered with split stitch (see p.40). Start the satin stitch at the widest point of the shape. Work a diagonal stitch from A up to B and bring the needle out next to A, at C. Take it down next to B, at D. Come out at E ready for the next stitch.

········· Method ········· Closely worked straight stitches: uses less thread than satin stitch ······· Materials ······· Any fabric; any thread – stranded silk or cotton for smooth surface; frame

When working satin stitch over a geometric shape or as a border, work the stitches at a right angle to the outline. Start stitching at one end and work to the other.

Encroaching Satin A

············ Uses ············ Solid filling; bands

A

··········· Technique Variation ···········

2 Repeat, varying the stitch length until the top part of the shape is covered. Bring the needle out again just below A and work downwards to fill the rest of the shape.

Surface Satin

·········· Level ··········· Intermediate

Leave no space between stitches

D E

B C

·········· Level ··········· Intermediate ············ Uses ············ Solid filling for larger areas

Do not make stitches too long

Mark the required shape. Work a diagonal stitch from A down to B and come up directly below, at C. Take the needle up to D and bring it out at E. Fill the lower part of the shape in this way. Come back up above A to work the remaining area.

········· Method ········· Overlapping narrow rows of satin stitch ······· Materials ······· Any fabric; any thread, in shades of the same colour; frame

B A

C

Insert needle just above base of previous stitches

Work a row of satin stitch (see above). On the following rows, bring the needle out at A and insert at B, between two stitches on the row above. Come up next to A, at C. Repeat to the row’s end.

Op e n and Sol id Fil l ing Stitche s

Long and Short 1 ·········· Level ··········· Advanced ············ Uses ············ Shaded filling, giving three-dimensional effect ········· Method ········· Interlocking satin stitches ······· Materials ······· Any fabric; any thread, in shades of the same colour; frame

Make stitches all same length

2 A

87

B C

Slant stitches towards centre Ensure stitches cover background fabric

1 Mark the outline of the area to be stitched. Work a row of alternate long and short satin stitches (see p.86) around the edge. Come up at A and take the needle down at B to make a long stitch. Bring it out at C to make a short stitch. Continue in this way to complete the first round.

··········· Technique Variation ···········

2 Using a darker shade, work a row of long satin stitches which interlock with the first round. Fill in the centre with a third shade.

When filling square or rectangular shapes, work the first row in alternate long and short stitches and subsequent rows in long stitches only, so they interlock as before.

Buttonhole Filling Stem Filling

····· Other Name ····· Stem stitch shading

···· Other Name ····· Buttonhole shading

·········· Level ··········· Intermediate

·········· Level ··········· Intermediate ············ Uses ············ Shaded filling ········· Method ········· Overlapping rows of buttonhole stitch ······· Materials ······· Any fabric; any thread, in shades of the same colour; frame

Work a row of buttonhole stitch (see p.58) using the lightest thread. With a darker tone, work the second row directly below, so that the upright stitches overlap the base of the previous row. Work subsequent rows in progressively darker tones to create the effect of shading.

············ Uses ············ Shaded filling ········· Method ········· Closely spaced lines of stem stitch ······· Materials ······· Any fabric; any thread, in shades of the same colour

Mark the outline of the area to be stitched. Using the darkest thread, work two rows of stem stitch (see p.41) along one side of the outline. Work the next two rows in a lighter shade. Continue to fill the shape with rows of stem stitch, graduating the colour to create a shaded effect.

88

O p e n an d Solid F ill in g S t it c h es

Leaf Keep thread loop above needle

1

2 D

B

C

·········· Level ··········· Intermediate

Insert needle at an angle

A

Insert needle at an angle

E A

··········· Uses ············ Open filling for leaves, petals and wide borders ········· Method ········· Overlapping diagonal stitches worked upwards ······· Materials ······· Any fabric; any thread; frame

Come up at A, to the left of centre. Insert the needle at B and bring it through to the right of centre, at C.

2 Take the needle down at D and bring it up directly above A, at E. Repeat these two stitches to fill the space, decreasing the length as the leaf tapers to a point. Work a narrow outline stitch (see pp.38–46) around the outside edge to complete. Work stitches alternately up and down

2

1

D E

A

··········· Uses ············ Light filling for small leaf or petal shapes; open borders ········· Method ········· Alternate slanting stitches, worked downwards ······· Materials ······· Any fabric; any thread; frame

Work pairs of slanting stitches in alternate directions

1 Mark the required shape on the fabric.

Open Fishbone

·········· Level ··········· Easy

C

C

B C

Insert needle to right of centre line

1 Mark the required shape. Come up at A and make a downwards slanting stitch to B, to the right of centre. Bring the needle out to the left of centre, at C. 2 Take the needle up to the right and insert at D. Come out at E, ready to work the next downwards stitch. Repeat these two stitches to continue, altering the length as the outline widens or narrows.

Work a narrow stitch over outline to complete leaf

Op e n and Sol id Fil l ing Stitche s

Attached Fly 1

2 A

·········· Level ··········· Easy ··········· Uses ············ Open filling for narrow leaf or geometric shapes; light borders ········· Method ········· Row of linked fly stitches worked downwards ······· Materials ······· Any fabric; any thread; embroidery frame

C D

C

····· Other Name ····· Fishbone

Work upright stitches in straight line

E

B

Pull needle through over working thread

1 Mark the outline of the area to be filled. Come out at A and insert the needle on the same level, at B. Bring it up in the centre at C.

············Stitch Variation············ Close fly stitch is made by reducing the length of the straight stitches (see step 2).

2 Insert the needle directly below C, at D, to make a straight stitch, and bring it out at E. Repeat steps 1 and 2 to continue, varying the stitch length as required.

Cretan

Space stitches evenly

1

2 A B

C

C

E

····· Other Name ····· Cretan filling ·········· Level ··········· Easy ··········· Uses ············ Open filling for leaf or geometric motif; borders ········· Method ········· Looped vertical stitch, worked downwards ······· Materials ······· Any fabric; any thread; frame

D

Work with needle at a slight angle

Pull needle through over loop

1 Mark the shape to be filled. Come up to the

right of centre at A, then take the needle across to B and insert. Come out to the left of centre at C. Pull the needle through over the working thread.

2 Take the needle down at D and come out at E. Repeat these two steps to fill the required area.

89

·············Stitch Variation············· Close Cretan stitch is formed by working each new stitch immediately below the last, so no space is left between them.

90

O p e n an d Solid F ill in g S t it c h es

Romanian Couching Do not work couching stitches too tightly

·········· Level ··········· Intermediate

1

2 A

C

··········· Uses ············ Solid filling for large areas ········· Method ········· Closely spaced long couched stitches ······· Materials ······· Any fabric; any thread – stranded cotton gives smooth surface; frame

B

C

Ensure E and F are level

Work couched stitches close together

1 Come up at A and work a long horizontal stitch across to B. Bring the needle out level with A, at C.

·············Stitch Variation············· Bokhara couching is worked in the same way, but the couching stitches are much shorter and made at a steep angle.

2 Make a couching stitch: take the needle over the long stitch and insert at D. Draw the thread up gently to tighten. Come out at E, ready to make the next couching stitch.

Spiral Couching 1

E D

Work first round of couching stitches at right angles Ensure laid threads cover fabric completely

A B

2

·········· Level ··········· Intermediate ··········· Uses ············ Solid filling for circles; metal thread embroidery ········· Method ········· Laid threads worked within a circle ······· Materials ······· Any fabric; thick or fragile threads; finer couching thread; frame

1 Mark a circle and bring the couching thread up just above the centre, at A. Fold the laid thread in half, pass the needle through the loop and insert at B to make a couching stitch. Curve the threads to the right. Work three more stitches, to complete the round. Make another round of four couching stitches. 2 Continue couching the laid threads in a spiral, spacing the stitches further apart as it increases in diameter. Take the ends through to the back to finish.

Lay threads in a clockwise spiral

Op e n and Sol id Fil l ing Stitche s

Couched Filling

Keep cross stitches small for neat appearance

2

Work upright stitches at right angles to horizontal stitches

1

··········· Uses ············ Decorative open filling ········· Method ········· Straight stitch grid with cross stitch couching ······· Materials ······· Any fabric; thread in two colours of the same or different thicknesses; frame

B

C

·········· Level ··········· Intermediate

E

91

J

F H

D

I G

A

Ensure stitches are parallel and spaced evenly

1 Using the first colour, make a foundation of horizontal straight stitches (see p.73). Come up at A to start working the vertical stitches. Take the needle down at B, then bring it out at C. Insert at D and come out at E, ready for the final stitch. 2 Work a cross stitch over each intersection of the straight stitches. Bring the second colour up at F. Take the needle down over the crossed threads and insert at G. Come up at H and insert at I, then come out at J, ready to make the next cross.

Laidwork 1

C

2

B

H

Ensure diagonal stitches are spaced evenly

G Keep stitches parallel so no fabric shows through

A

·········· Level ··········· Advanced ··········· Uses ············ Decorative solid filling

3

Work tie stitches over crossed threads

········· Method ········· Surface satin stitch with trellis of couched straight stitches ······· Materials ······· Any fabric; thread in three colours; frame

K

I J

D F

E

1 Work a row of upright surface satin stitches (see p.86), leaving one stitch width between each. Bring the needle out at A, insert at B and come up at C. Repeat along the row to fill in the spaces. 2 Using the second thread, work a series of diagonal stitches across the foundation. Come up at D to start the second layer of stitches. Take the needle down at E, then bring it out at F and insert at G. Come out at H, ready to complete the trellis. 3 Work the short tie stitches (see p.20) in the third colour. Come up at I, take the needle down at J and bring it out again at K. Repeat at each intersection.

92

O p e n an d Solid F ill in g S t it c h es

Back Stitch Trellis Space lines one stitch length apart

1

C E

··········· Uses ············ Open geometric filling

······· Materials ······· Any fabric – evenweave for a regular effect; any embroidery thread

D

F

J H

1 Work a series of diagonal, parallel rows of back stitch (see p.40). Start the first row at A, the second at B and the third at C. Come out at D, insert the needle at E and bring it out at F. Continue until the required area is filled. 2 Work the next row in the opposite direction, starting at C, then G. Come out at H, insert at I and come up at J. Repeat to complete the trellis.

Japanese Darning 1

Work running stitch in parallel rows

········· Method ········· Combination of running and straight stitches ······· Materials ······· Any fabric – evenweave is easier to use; any embroidery thread

2

F

Stitch at right angles to previous row

Work slanting stitches into holes made by running stitches

Ensure stitches are longer than spaces

·········· Level ··········· Intermediate ··········· Uses ············ Open geometric filling for larger areas

G

B

·········· Level ··········· Intermediate

········· Method ········· Intersecting diagonal rows of back stitch

2

C

A

Work stitches into holes made by previous row

G

F C

A

B

C

1 Work several horizontal rows of running stitch (see p.39), positioned so that the stitches in each row lie beneath the spaces in the row above. Come up at A, insert the needle at B and bring it out at C. Repeat to fill the required area. 2 Link the rows of running stitch with slanting stitches. Bring the needle out at D and take it down at E. Come up at C, go down at F, then up at G, ready to make the next stitch. Continue to the end of the row, before proceeding to the one below.

D E

I

Op e n and Sol id Fil l ing Stitche s

Cloud Filling

Position each stitch between two in row above

1

B

2

Use blunt needle for lacing D

C

A

····· Other Name ····· Mexican stitch ·········· Level ··········· Intermediate ··········· Uses ············ Open filling; crewel work ········· Method ········· Interlaced rows of short upright stitches ······· Materials ······· Any fabric – evenweave for regular effect; any thread in two colours; blunt needle

Space stitches evenly

1 Work a foundation of short upright stitches, arranged in staggered rows. Come up at A and make a straight stitch to B, then bring the needle out at C. Repeat to fill the required area.

3

2 Bring the second thread up at D. Slide the needle under the first stitch in the top row from left to right. Pass it beneath the second stitch on the row below and continue lacing to the end.

E

3 Come up at E. Slide the needle under the first stitch on the third row, from right to left. Take it under the next stitch on the second row. Repeat to the end, then thread further rows in the same way.

Wave Filling 1

2 C

·········· Level ··········· Intermediate ··········· Uses ············ Shaded or single colour open filling; crewel work ········· Method ········· Interlinked horizontal rows of looped stitches ······· Materials ······· Any fabric; any thread in one or more colours; frame

C

B

A

F D

Pick up a small amount of fabric with needle

1 Work a base row of short, evenly spaced upright stitches. Come up at A and slide the needle under the first stitch. Take it back down to B and insert. Come out just to the left, at C and repeat to the end of the row. 2 Start the next row at D. Pass the needle under the next two stitches of the row above. Take it down and insert at E, then come out at F. Continue to the end of the row.

E Needle passes under two threads

··········Technique Variation·········· Create a subtly shaded effect by stitching each successive row in a darker shade of the same colour.

93

o Penwork Pulled Fabric StitcheS

.........

..........

drawn thread and inSertion StitcheS

.........

..........

cutwork and edging StitcheS

Pulled Fabric Stitches M

any of these stitches were originally worked as white-on-white stitches to decorate household linen, but their diversity and intricate patterns only really become apparent when coloured threads are used. They form all-over designs which vary in density; some are open and lacy, but others have a more solid pattern of stitches. Work on evenweave fabric which has been mounted in a frame. Avoid stretching the fabric too taut; it has to be fairly loose to allow the stitches to be worked evenly. Use strong thread in a weight to match the background fabric, and pull each stitch tightly to draw the fabric threads together.

Window Filling 97 Three-sided 97 Honeycomb Filling 98 Russian Filling 98 Diagonal Raised Band 99 Punch 99 Cobbler Filling 100

Step 100 Mosaic Filling 101 Diagonal Satin Filling 101 Back Stitch Rings 102 Algerian Eye 102 Outlined Diamond Eyelet 103

Pul l e d Fabric Stitche s

Window Filling 1 E

G

D

F

Count threads carefully when stitching

2

A

C

E G I

B

H

·········· Level ··········· Easy ··········· Uses ············ Dense filling ········· Method ········· Diamond trellis with four small holes ······· Materials ······· Evenweave fabric; any thread; blunt needle; frame

Pull thread tightly to create holes

1 Come up at A. Work a diagonal stitch over five horizontal and two vertical threads, down to B. Come out five threads to the left, at C, then insert one thread to the left of A, at D. Bring the needle out five threads to the left, at E and go down one thread to the left of C, at F. Come out at G and continue to the end of the row.

Work second row directly below first

·············Stitch Variation············· Pulled wave filling, which has open holes, is worked in the same way, but no space is left between the stitches.

2 Stitch the next row as a mirror image of the first. Come up at H, eleven threads below E, and insert one thread below G, at I. Repeat these two rows to continue.

Three-sided 1

Draw thread up tightly to form holes

D

A

C

2 A

B

····· Other Name ····· Straight line stitch ·········· Level ··········· Easy ··········· Uses ············ Narrow borders ········· Method ········· Double back stitch worked in triangles ······· Materials ······· Evenweave fabric; any thread; blunt needle; frame

1 Start at A and work a diagonal stitch over six horizontal and three vertical threads down to B. Come out again at A and re-insert at B to make a double back stitch. Come up six threads to the left of B at C and work another double back stitch. 2 Work another double back stitch up to A

and come out six threads to the left, at D.

3 Take the needle down to C and make a double stitch. Repeat to the end of the row.

3 D

C

97

98

P u l l e d Fab r i c S t it c h es

Honeycomb Filling

Ensure stitches are all worked at right angles to each other

Work each stitch over three threads

1

E

2

D

F

A C

E

B

·········· Level ··········· Intermediate ··········· Uses ············ Light filling with semiopen appearance ········· Method ········· Worked to form hexagonal lattice ······· Materials ······· Evenweave fabric; any thread; blunt needle

Make a double horizontal stitch at point where rows meet

1 Start at top right. Come up at A, go down at B and bring the needle out at C. Re-insert at B and come up again at C, then go down at D. Come up at E, re-insert the needle at D, and bring it out again at E. Repeat these four stitches to the end of the row. 2 Work the second row as a mirror image of the first. Start at F, and turn the work upside-down if desired. Repeat these two rows to fill the required area.

Russian Filling

2

1

H I C G F E

·········· Level ··········· Advanced ··········· Uses ············ Dense filling with open holes ········· Method ········· Crossed diagonal stitches worked in two journeys ······· Materials ······· Evenweave fabric; any thread; blunt needle

D

B

Leave four threads between rows

G F

A Work each diagonal stitch over four intersections

1 Start at bottom right. Work a diagonal stitch from A to B.

Come up at C and insert the needle at D. Bring it back up at B, down at A, then up again at D and down at E. Start the next row with a stitch from F to G and come up at E. Repeat these two rows until the top right corner of the area being filled is reached.

2 Work a stitch from H to I to square off the top edge, then

continue working diagonal rows to fill the space.

3 The second journey, which completes the crosses, starts from J to H. Turn the work through 45 degrees to the left and stitch as before.

3

Pull stitches tightly to create large holes

H J

Pul l e d Fabric Stitche s

99

Diagonal Raised Band Pull thread up firmly

1

2

B C

C

A

·········· Level ··········· Easy ··········· Uses ············ Ridged diagonal borders ········· Method ········· Diagonal row of tightly worked cross stitches ······· Materials ······· Evenweave fabric; any thread; blunt needle; frame

D A

E F

Work upright stitches in diagonal line

1 Work a row of upright stitches. Come out at A, take the needle up over six threads and insert it at B. Bring the needle out three intersections to the left, at C.

·············Stitch Variation············· Ridged filling is made by working diagonal raised band stitch in adjacent rows to make a solid pattern.

2 Insert the needle at D and bring it out again at A. Insert at E and come out at F, and continue to the end of the row.

Punch

Work double stitches very tightly C

1

C

E

A

2

B

F D

Insert needle into hole made by previous stitch

·········· Level ··········· Easy ··········· Uses ············ Open filling with large holes ········· Method ········· Double back stitch worked in square grid ······· Materials ······· Evenweave fabric; any thread; blunt needle; frame

3

1 Come up at A and work an upright stitch over four threads to B. Make a second stitch in the same holes, then come out five intersections to the left, at C. Repeat to the end of the row.

H E

G F

2 Bring the needle out five threads below the final stitch, at D. Work a double back stitch between D and E, then come up five threads to the right, at F. Continue to the end of the row then repeat to fill the required area. 3 Work horizontal stitches between the upright rows. Come up at G and make a double back stitch to E. Bring the needle out at H, then continue working up and down the rows.

1 00

P u l l e d Fab r i c S t it c h es

Cobbler Filling 1

E

B

D E C

········· Method ········· Straight stitches worked in vertical and horizontal rows to form pattern of detached squares ······· Materials ······· Evenweave fabric; any thread; blunt needle; frame

F Leave two horizontal threads between rows

1 Come up at A and take the needle up over four threads to B. Bring it out four threads to the left of A at C. Insert at D and come up two threads to the left of C at E. Repeat to the end of the row. 2 Work the following rows of upright stitches in line

······· Materials ······· Evenweave fabric; any thread; blunt needle; frame

D C

B A

Do not leave any space between stitches

1

········· Method ········· Diagonal rows made up of blocks of satin stitch set at alternate angles

3

3 Join the pairs of stitches to form squares. Bring the needle up at D, take it down at B and up at C. Insert at A, then continue working down and up the rows.

A

F

··········· Uses ············ Dense filling

H

Work upright rows in alternate directions

with the first. Bring the needle up six threads below the previous stitch, at F. Insert at G and come up at H.

Step

·········· Level ··········· Intermediate

G

A

·········· Level ··········· Intermediate ··········· Uses ············ Light, open filling

2

Ensure thread is pulled tightly

D

E

B

J I

B

C

H G

3 G

2

Ensure blocks meet at each corner

Work each satin stitch over four threads

1 Start at A. Work a block of five horizontal stitches over four threads, ending with B to C. Come up eight threads to the left of B, at D. Work five upright stitches over four threads, ending with E to F. Come out at B, insert at E and work four more horizontal stitches. 2 Come up eight threads below B, at G. Insert at H, work four more upright satin stitches. 3 Bring the needle out eight threads below G, at I. Work five stitches over four threads, ending at J. Come up at G to make a block of upright stitches. Continue making alternate blocks to fill the required area.

Pul l e d Fabric Stitche s

Mosaic Filling B D C

Ensure all satin stitches are worked over four threads

2 L F

A

1 ··········· Uses ············ Dense chequered filling ········· Method ········· Block of satin stitch set in a square with back stitch centre ······· Materials ······· Evenweave fabric; any thread; blunt needle; frame

G

J

H

E

·········· Level ··········· Advanced

101

Do not leave any space between satin stitches

1 Start at A. Work five satin stitches (see p.86) over four threads, finishing at B. Come out at C. Insert four threads to the left, at D, and come out at E.

K

I

Pull back stitches tightly

3 C

2 Work four more horizontal stitches, finishing at F.

Come up at G and insert the needle four threads below, at H. Work four more upright stitches, ending at I. Come up at J, insert at K and come out at L.

A

G

M

J

3 Work four more stitches, ending at M. Come back up at A and insert at J. Work three more back stitches from C to A, G to C and J to G to complete. Start the next stitch to the left (see Gallery p.31).

Diagonal Satin Filling Pull stitches tightly to create diamond

Leave five vertical threads between rows

2

1 ·········· Level ··········· Intermediate

A

··········· Uses ············ Dense geometric filling ········· Method ········· Diagonal rows of satin stitch diamonds, worked in alternate directions ······· Materials ······· Evenweave fabric; any thread; blunt needle; frame

B Stitch into holes made by previous blocks C

Work diamonds in diagonal rows

1 Starting at top right, work a series of satin stitch (see p.86) diamonds to fill the required area. Come up at A and make a diagonal stitch over one intersection to B. Work four more stitches, increasing the length of each by one thread. Come up at C to work the longest stitch, then complete the diamond with four stitches which decrease in size. 2 Fill in the spaces with further rows of diamonds worked in the same way but in the opposite direction.

1 02

Pu l l e d Fab r i c S t it c h e s

Back Stitch Rings 1

2

C

A

B

E D

D

Stitch return journey in opposite direction

·········· Level ··········· Intermediate ··········· Uses ············ Filling for large areas ········· Method ········· Intersecting rows of back stitch forming pattern of small circles ······· Materials ······· Evenweave fabric; any thread; blunt needle; frame

1 Start at A and take the needle down over two

intersections, at B. Come up two threads above A, at C, then continue working alternate straight and diagonal back stitches to form a row of semi-circles.

C D

F

E

B F

Work stitches over three vertical threads

G

·········· Level ··········· Intermediate

3

Work each back stitch over two vertical threads

Pull stitches tightly to create centre holes

2 H

······· Materials ······· Evenweave fabric; any thread; blunt needle; frame

H

3 Come up at F to start the next row. Work from left to right, making a second horizontal stitch between G and H, and at each point where two rows meet.

A

········· Method ········· Straight stitch stars worked in two journeys

G

2 Work a full circle at the end of the row. The lines cross at the upright stitches; work a second back stitch between E and D, then continue stitching from right to left.

Algerian Eye 1

··········· Uses ············ Chequerboard filling for large areas

3

J

H

G

I

1 Start at A and take the needle down over three intersections, at B. Come up three threads to the left, at C and insert at B. Bring the needle up at D, down at B, up at E and down at B. Come out three threads to the right of E, at F. For the next half star, go down over three intersections, at G, and up at H. 2 Continue stitching downwards, working half stars to fill the required area. Complete the final star with four more straight stitches, finishing at I. Insert at G to continue the second journey. 3 Come up at J, six threads to the right of the top star, ready to work the next diagonal row of stars.

Pul l e d Fabric Stitche s

Outlined Diamond Eyelet 2 1

Pass needle through same hole each time E

A

A

C

103

B

D

··········· Level ··········· Advanced

Pull thread tightly to form eyelet

··········· Uses ············ Dense filling ········· Method ········· Straight stitch diamond worked into centre hole with satin stitch border ······· Materials ······· Evenweave fabric; any thread; blunt needle; frame

3

J

A

K

F G

H

H

Work each diagonal stitch over two intersections

Work next diamond in this space

5 L

I

E

K

4 Make seven diagonal stitches along each side

1 Start at A and take the needle down over six threads to B. Come up one intersection to the left of A and insert at B, then make four more clockwise diagonal stitches, ending with C to B. Come up at D, and work the remaining three quarters of the diamond in the same way. 2 When the diamond is complete, bring the needle up two intersections to the left of A, at E. 3 Insert the needle at A, then make a further six parallel straight stitches, ending with F to G. Come out two intersections down to the left, at H. Work similar rows of straight stitch along the other three sides. 4 Make the final stitch from I to J. Come up six threads to the right, at K, and repeat steps 1 to 3 to work the next diamond. 5 To work the next diamond to the left, come back up at E and take the needle down six threads to the left, at L.

Drawn Thread and Insertion Stitches D

rawn thread hem and border stitches developed as a method of producing a decorative neatened edge on a piece of fabric. They should be worked on evenweave fabric from which a band of threads has been withdrawn. The remaining threads are then bunched together with tighly pulled stitches to form a regular pattern. Insertion stitches, also known as faggoting, have developed from old seaming techniques into a group of intricate stitches, which can be worked on plain or evenweave fabric. The two edges being joined must be mounted on paper so that the stitches can be spaced evenly.

Single Hem 105 Ladder Hem 105 Serpentine Hem 105 Antique Hem 105 Italian Border 106 Four-sided 106 Chevron Border 107 Diamond Border 107

Laced Insertion 108 Cretan Insertion 108 Faggot Bundles 108 Knotted Insertion 109 Buttonhole Insertion 109 Needleweaving Bars 110 Zigzag Clusters 110 Corded Clusters 110

D raw n Thre ad and Ins e rtion Stitche s

Single Hem 1

2

C B

Pull thread tightly to bunch threads

A

·········· Level ··········· Easy ··········· Uses ············ Simple open border for hemmed edge ········· Method ········· Small groups of threads pulled into clusters along hem; worked on wrong side of fabric ······· Materials ······· Evenweave fabric; any thread; blunt needle

C B

Work on wrong side of fabric

D Work each stitch over same number of threads

··············Stitch Variation··············

1 Draw out a few threads along the edge of the fabric (see p.21). Fold a double hem to the base of the threads and tack down. Come up at A and slide the needle under three threads to the right, from B to C. 2 Take the needle down at B and bring it out at D. Repeat these two steps to continue.

Serpentine Hem

Ladder hem stitch is worked over a wider band of drawn threads. Work as for single hem stitch, then turn the fabric upside down and work a second row over the same groups of threads, making a series of bars.

Antique Hem

Withdraw several threads to create wide band

C

····· Other Name ····· Trellis hem stitch

Pass needle through folded hem

B

A

·········· Level ··········· Easy

······· Materials ······· Evenweave fabric; any thread; blunt needle

Work a row of hem stitch over groups of four threads (see above), then turn the fabric upside down. Come up at A. Pass the needle under two threads from each group, from B to C, and work a second row of hem stitch.

C

·········· Level ··········· Easy ··········· Uses ············ Plain border for hem ········· Method ········· Hem stitch variation in which horizontal stitches only show on right side

··········· Uses ············ Decorative edging ········· Method ········· Two staggered rows of hem stitch worked to create slanting bars

105

······· Materials ······· Evenweave fabric; any thread; blunt needle

B A

D

Prepare the fabric as for single hem stitch (see above). With the wrong side facing, come up at A. Slide the needle under three threads to the right, from B to C. Insert the needle through the edge of the fold at B and come out at D. Pull up the thread; repeat this step to continue.

1 06

D r awn Th r e ad a n d In s er t io n S t it c h es

Italian Border 1

Draw up loop to pull threads together

2

B

A

····· Other Name ····· Italian hem stitch

D

·········· Level ··········· Easy ··········· Uses ············ Open band; with hem stitch as decorative border ········· Method ········· Open border stitch, worked in two journeys ······· Materials ······· Evenweave fabric; any thread; blunt needle

Work upright stitches across fabric band

2 Take the needle down to C. Slide it behind three threads and come out at D. Go back down at C and come up at E, three threads to the left of A. Repeat steps 1 and 2 to continue. Insert needle alternately from left to right

Work over same threads at top and bottom

C B

·········· Level ··········· Intermediate

······· Materials ······· Evenweave fabric; any thread; blunt needle

Stitch from right to left

centre strip of fabric (see p.21). Come out at A. Take the needle across three threads to the right and then slide it behind the fabric from B to A.

A

········· Method ········· Pulled straight stitches, worked horizontally to form square pattern

C

1 Withdraw two bands of threads leaving a narrow

Four-sided 1 ··········· Uses ············ Open bands; can also be worked as pulled fabric stitch

A

E

2 C

Pull thread to tighten stitch

1 Withdraw two bands of threads leaving a narrow strip of fabric between them (see p.21). Come up at A. Take the needle down four threads to the right, at B. Bring it out directly above A, at C. 2 Take the needle down four threads to the right, at D and come up at A. Go down at C to make a vertical stitch and come up four threads to the left of A, ready to start the next stitch. Repeat these two steps to continue.

A

D

D raw n Thre ad and Ins e rtion Stitche s

Chevron Border 1

Pull through over working thread

C

D

2

B A

·········· Level ··········· Intermediate ··········· Uses ············ Decorative open bands; with hem stitch as edging ········· Method ········· Chevron stitch variation; worked horizontally ······· Materials ······· Evenweave fabric; any thread; blunt needle

B

E

Draw horizontal stitches up firmly

1 Prepare the fabric as for step 1 below. Come up at A. Take the needle diagonally up and slide it behind two threads from B to C. Take the needle across four threads to the right, and insert at D. Come up again at B.

D

········· Method ········· Pulled straight stitches, worked in two journeys ······· Materials ······· Evenweave fabric; any thread; blunt needle

Pull horizontal stitches tightly

2

C

A B

··········· Uses ············ Open border with hexagonal pattern

Do not pull diagonal stitches tightly

2 Insert the needle at E. Slide it behind two threads to the left and come up at F. Take the needle across four threads and insert at G. Bring it out at E and pull through over the working thread. Repeat these two steps to the end of the row.

Diamond Border 1 ·········· Level ··········· Intermediate

G

F

D C

Work each horizontal stitch over same number of threads

1 Withdraw two bands of thread leaving a narrow

strip of fabric between them (see p.21). Come up in the centre, at A. Take the needle down three threads to the right, at B, then bring it out at A again. Insert directly above, at C and slide the needle under three threads to the left, coming up at D.

2 Take the needle down at C and come back up at D.

Insert it directly below, at E and come out on the same level, at F. Repeat steps 1 and 2 to the end of the row.

3 Turn the fabric the other way up to work the second journey. Come up at G and stitch as before.

F

3

E

Work second journey as mirror image of first

G

107

1 08

Dr awn Th r e ad a n d In s er t io n S t it c h es

Laced Insertion B

····· Other Name ····· Laced faggot stitch ·········· Level ··········· Easy ··········· Uses ············ Decorative joining stitch ········· Method ········· Two hems worked with Antwerp edging stitch, linked with interlacing ······· Materials ······· Evenweave fabric; thick thread; blunt needle

Cretan Insertion B

D

·········· Level ··········· Easy

E

A

Keep tension regular

Mount the fabric (see p.21). Work a row of Antwerp edging stitch (see p.112) along each hem. Come up at A. Pass the needle down over B. Slide it under C, from back to front. Take it over D, from front to back; repeat to the end of the seam.

Faggot Bundles 1

A C E

A

··········· Uses ············ Simple join for two straight edges

C

········· Method ········· Open Cretan stitch adapted as insertion

Mount the fabric on paper (see p.21). Take the needle through to the back at A, then insert it from the front at B. Bring it through behind the diagonal thread and take it down at C. Pull through over the working thread. Repeat to the end of the seam.

······· Materials ······· Evenweave fabric; thick thread; blunt needle

Loop thread from left to right B D

2

C

Pull thread tightly to bunch stitches

F

E G

·········· Level ··········· Intermediate ··········· Uses ············ Decorative method of joining two edges ········· Method ········· Groups of two stitches bound by a third, worked from top to bottom ······· Materials ······· Evenweave fabric; any thread; blunt needle

1 Mount the fabric (see p.21). Start on the left, at A and work a straight stitch across to B, on the right. Make another stitch from C to D, then come out at E. Pass the needle behind all the threads, then pull through over the loop. 2 Insert the needle at F, then bring it out below E at G, ready to start the next group of stitches. 3 Insert at H, then make another stitch from I to J. Come out at K, take the needle behind the three diagonal and two horizontal threads, and pull through over the working thread. Repeat steps 1 to 3 to continue.

3 Leave equal spaces between all stitches

G I K

H J

Maintain even tension

D raw n Thre ad and Ins e rtion Stitche s

Knotted Insertion 1

2

Keep stitch tension even

A A

Pull needle through over working thread

····· Other Name ····· Knotted faggot stitch

B

·········· Level ··········· Advanced ··········· Uses ············ Decorative method of joining two edges ········· Method ········· Knotted joining stitch worked horizontally ······· Materials ······· Evenweave fabric; thick thread; blunt needle

Work bottom and top stitches in same way

1 Mount the fabric on paper (see p.21). Take the needle down through the top hem at A and bring it out to the left of the diagonal stitch. Loop the working thread to the right and pass the needle under both threads. Pull the thread up tightly to form a knot. 2 Take the needle down to the bottom hem and insert at B. Bring it through to the left of the diagonal stitch and loop the thread to the right. Slide the needle under both threads and pull through tightly. Continue stitching alternately up and down to the end of the seam.

Buttonhole Insertion 1

B

C

2

D

A

Make small diagonal stitch between two hems

D

E

····· Other Name ····· Buttonhole faggot stitch ·········· Level ··········· Advanced ··········· Uses ············ Decorative joining method ········· Method ········· Groups of three buttonhole stitches worked alternately from top to bottom ······· Materials ······· Evenweave fabric; thick thread; blunt needle

109

Pull through over working thread

1 Mount the fabric on paper (see p.21). Start at A and work a buttonhole stitch (see p.58) up to B. Work a second, longer stitch to C, then come out on the same level as B, at D, to work the third stitch. 2 Take the needle down through the bottom hem, at E and pull it through over the working thread.

3

H

E

3 Work two more buttonhole stitches at F and G, varying

the length as before, then take the needle back up to the top hem at H. Make two more stitches at I and J, then continue to the end of the seam.

Work longest stitch in centre

F

I J

G

1 10

D r awn Th r e ad a n d In s er t io n S t it c h es

Needleweaving Bars 1 ······ Other Name ······· Woven bars

Work each bar over even number of threads

2

C A B

··········· Level ············ Advanced ··········· Uses ············· Flat, heavy borders ········· Method ········· Weaving stitch, worked horizontally ······· Materials ······· Evenweave fabric; any thread; blunt needle

1 Withdraw a band of threads from the fabric. (see p.21). Come up at A and take the needle across three threads to the right. Insert it at B and bring it back through at A. Insert over three threads to the left at C, then come back out in the centre, at A. Continue weaving upwards.

········· Method ········· Round, wrapped bars worked over foundation of drawn threads ······· Materials ······· Evenweave fabric; any thread; blunt needle

Pull loop tightly across threads

Join clusters at the top

Pull double stitch tightly

B

··········· Uses ············ Heavy open borders

D

C

2 When the bar is complete, bring the needle out three threads to the left, at D. Work downwards as before, then continue weaving bars to the end of the row.

Zigzag Clusters 1 ·········· Level ··········· Advanced

Weave alternately upwards and downwards

2

C

A

C

Do not allow fabric threads to show through

1 Withdraw a band of threads (see p.21). Start at A and take the needle over three threads to the right. Come back up at A, then pass the needle in front of and behind the threads. Continue wrapping to the top, then come out three threads to the left, at B. Take the needle across six threads and insert at C, then come back up at B. Insert again at C and come up between the two groups of threads. 2 Take the needle back over three threads and continue wrapping to the bottom. Start the next and subsequent clusters three threads to the left.

············Stitch Variation············ Corded clusters are worked in the same way, but without the double linking stitches.

Cutwork and Edging Stitches E

dging stitches give an ornamental finish to a hem, and look particularly effective when worked in a thick, twisted thread. The stitches should be spaced regularly, but they can be worked on evenweave or plainweave fabric. Cutwork stitches, like the other types of openwork, were grouped under the name of ‘white work’. Eyelets in various shapes can be used to decorate collars, mats and garments or combined with satin stitch to create Broderie Anglaise designs on lawn. Work these stitches on fine plainweave cotton or linen, in white or coloured threads, with or without a frame.

Antwerp Edging 112 Scalloped Edge 114 Sailor Edging 112 Ring Picot Edge 114 Looped Edge 113 Buttonhole Eyelet 115 Half Chevron 113 Overcast Eyelet 115 Square Eyelet 115

1 12

C u t wor k an d E d g in g S t it c h es

Antwerp Edging Pull loop to form knot

1

A

····· Other Name ····· Knotted blanket stitch ·········· Level ··········· Intermediate ··········· Uses ············ Decorative hems ········· Method ········· Blanket stitch variation, worked horizontally over edge of fabric ······· Materials ······· Any fabric; thick twisted threads give best stitch definition

2

A

Ensure knots lie along edge of fabric Keep stitch tension regular

1 Insert the needle at A and bring it out under the edge of the fabric. Pull through over the loop to make a blanket stitch (see p.58). 2 Take the needle back to the left and pass it behind the two threads. Draw up the working thread to form a knot. Repeat these two steps to continue along the edge.

Sailor Edging 1 ·········· Level ··········· Intermediate

Pass needle over loop

Work upright stitch over blanket stitch A

··········· Uses ············ Decorative hems ········· Method ········· Blanket stitch variation, worked downwards over edge of fabric ······· Materials ······· Any fabric; any twisted thread

2 B

A

C

1 Insert the needle at A. Bring it out under the edge of the fabric and pull though over the working thread to make a blanket stitch (see p58). 2 Insert the needle at B. Bring it through at C and draw up the thread to make a short upright stitch. Repeat steps 1 and 2 to continue.

Space stitches regularly

C utwork and Edging Stitche s

113

Looped Edge Work stitches closely together to conceal edge

·········· Level ··········· Intermediate ··········· Uses ············ Solid stitch for hems and neatening raw edges; foundation for laced insertion stitch ········· Method ········· Looped edging stitch, worked horizontally ······· Materials ······· Any fabric; any thread depending on fabric

1

A

2

B

A

Ensure thread passes over needle Keep stitches same length

1 Come up at A. Take the needle to the left and pass it downwards through the loop. Pull up the thread gently. 2 Bring the needle out at B, ready to make the next stitch. Repeat these two steps to continue.

Half Chevron

Work straight stitch at right angle to edge

1

2 A

·········· Level ··········· Intermediate ··········· Uses ············ To neaten folded edges and hems ········· Method ········· Chevron stitch variation, worked over edge of fabric ······· Materials ······· Any fabric; any thread

D

C B

Keep needle horizontal

C

3

1 Come up at A, insert the needle at B and bring it out in the centre, at C.

D

2 Loop the thread from left to right. Take the needle behind the fabric and bring it through over the working thread, at D. 3 Insert the needle to the right of B, at E, then bring it through again at B. Repeat steps 1 to 3 to continue along the edge.

B

Ensure needle passes below thread

E

114

Cu t wor k an d E d g in g S t it c h es

Scalloped Edge 1 ·········· Level ··········· Intermediate

2

··········· Uses ············ Neatening curved and scalloped raw edges ········· Method ········· Buttonhole stitch worked over running stitch foundation ······· Materials ······· Closely woven fabric; any fine thread; embroidery scissors

········· Method ········· Buttonhole stitch worked over thread loop ······· Materials ······· Closely woven fabric, any fine thread; embroidery scissors

C

Cut along outside edge of stitches

2 Work a row of buttonhole stitch (see p.58) over the foundation, following the curve of the outline. Come up at A, insert at B and pull the needle through at C. Repeat to the end of the line. When the stitching is complete, trim away the surplus fabric using sharp embroidery scissors.

B

··········· Uses ············ Decorative trim on buttonholed edges

A

1 Sew two foundation rows of closely spaced running stitch (see p.39) along the outline of the edge to be worked.

Ring Picot Edge 1 ·········· Level ··········· Advanced

B

Do not leave any space between rows

Keep all stitches at right angles to edge

Do not pull stitches too tightly

2

A

Pull needle through to make buttonhole stitch

1 Sew a line of closely spaced running stitch (see p.39) along the edge to be worked. Make a row of buttonhole stitch (see p.58) over it, finishing at the right edge of the picot, at A. Take the needle back to B and pass it under the horizontal thread to form the foundation loop. Slide the needle under the loop from right to left, over the working thread and gently pull through. 2 Work a series of buttonhole stitches to cover the foundation loop. 3 Continue working buttonhole stitch along the marked line. When complete, carefully trim away the surplus fabric using sharp embroidery scissors.

3

C utwork and Edging Stitche s

115

Buttonhole Eyelet 1

Reinforce opening with running stitch

2 Turn surplus fabric to wrong side

·········· Level ··········· Advanced ··········· Uses ············ Circular holes; laced eyelets ········· Method ········· Buttonhole stitch worked in a ring around central opening ······· Materials ······· Closely woven fabric; any fine thread; sharp scissors

1 Mark two concentric circles on the fabric. Outline the inner circle with a round of closely spaced running stitch (see p.39).

3

2 Clip the knot and make two cuts at right angles across the inner circle. Using the point of the needle, ease the fabric to the wrong side and finger press in place.

A

3 Come up at A on the outer circle and work a circle of buttonhole stitch (see p.58) into the centre. Trim any surplus fabric on the wrong side.

Overcast Eyelet

Space stitches evenly in a ring

Square Eyelet Work longer stitches at corners

A

·········· Level ··········· Advanced ··········· Uses ············ Broderie Anglaise; openwork ········· Method ········· Small open circle with bound edge ······· Materials ······· Fine cotton or linen; any fine thread

A

·········· Level ··········· Advanced Do not leave any space between stitches

Draw a circle onto the fabric and prepare as for steps 1 and 2 above. Bring the needle up a short distance away from the folded edge, at A and work a ring of short stitches into the space.

··········· Uses ············ Broderie Anglaise; openwork ········· Method ········· Cut square with bound edge ······· Materials ······· Any fine fabric; fine thread

Mark the outline and work a round of running stitch over it. Make two diagonal cuts across the square and finger press the surplus fabric to the wrong side. Come up at A and work a round of straight stitches into the opening, angling them at each corner.

N eedlepoiNt Straight NeedlepoiNt StitcheS

.........

..........

diagoNal NeedlepoiNt StitcheS

......... croSS

.......... Star StitcheS

aNd

NeedlepoiNt

......... looped

.......... aNd

tied

NeedlepoiNt StitcheS

Straight Needlepoint Stitches T

his versatile group of stitches includes stripes, zigzags, diamonds and other geometric patterns which can be used for fillings and backgrounds on various scales, using one or more colours. They are all stitched either horizontally or vertically, so that the thread lies parallel to the grain of the canvas. This means that they do not distort the square weave in the same way as diagonal stitches and, with care, they can be worked without a frame. The stitches are all sewn on single canvas, and the thread, yarn or wool used must be thick enough to conceal the background completely.

Upright Gobelin 119 Gobelin Filling 119 Parisian 119 Hungarian 120 Hungarian Diamond 120 Single Twill 121 Double Twill 121 Bargello 121 Chevron 122 Hungarian Ground 122

Straight Cushion 123 Scottish Diamond 123 Diamond 124 Long Stitch Triangles 124 Lozenge 125 Straight Milanese 125 Double Brick 126 Brick Filling 126 Long and Short Brick 127 Basket Filling 127

Straight Ne e dl e p oint Stitche s

Upright Gobelin

Gobelin Filling A B C D E F

A B C D E F

····· Other Name ····· Straight Gobelin stitch ·········· Level ··········· Easy

1 2 3 4 5 6 7 8

··········· Uses ············ Ridged fillings and backgrounds ········· Method ········· Horizontal rows of vertical straight stitches, worked alternately from right to left ······· Materials ······· Single canvas; any thread

119

·········· Level ··········· Easy

1 2 3 4 5 6 7 8 9

··········· Uses ············ Twill effect backgrounds and shaded fillings

Work each stitch over four threads

········· Method ········· Interlocking horizontal rows of upright stitches

Starting at top left, make an upright stitch from 5A to 1A and repeat to the end of the line. Begin the next row at 9F to 5F and stitch towards the left. Repeat these two rows to fill the required area.

······· Materials ······· Single canvas; any thread

Work into base of previous stitch

Start at top left. Work the first stitch from 7A to 3A, the second from 5B to 1B and repeat to the end of the line. Begin the next row at 9F to 5F and 11E to 7E and work towards the left; repeat these two rows to continue.

Parisian 1 ·········· Level ··········· Easy ··········· Uses ············ Textured fillings and large background areas ········· Method ········· Interlocking horizontal rows of alternate long and short upright stiches ······· Materials ······· Single canvas; any thread

Work each row in pairs of long and short stitches

A B

E

F

1 2 3 4 5 6 7 8 9 10 11

2 Stitch into base of previous row

1 Start at the top left corner. Work a short stitch over two threads from 5A to 3A and a long stitch over six threads from 7B to 1B. Repeat these two stitches to the end of the line. 2 Begin the next row with a short stitch from 9F to 7F and a long stitch from 11E to 5E, then work alternate long and short stitches to the end of the row. Repeat these two steps to fill the required area.

A B C D E F

1 2 3 4 5 6 7 8 9 10 11

·········Technique Variation········· To create a secondary pattern within Parisian stitch, work all the long stitches in a dark yarn, then fill the spaces with short stitches in a contrasting colour.

1 20

S t r ai gh t N e e d le p o in t S t it c h e s

Hungarian 1

Work three upright stitches to make diamond A B C

E F

2

1 2 3 4 5

A

C D E F

1 2 3 4 5 6 7

·········· Level ··········· Easy ··········· Uses ············ Textured fillings ········· Method ········· Horizontal rows of small interlocking diamonds ······· Materials ······· Single canvas; any thread in one or two colours

1 Starting at top left, make a short stitch over two threads from 4A to 2A. Work a long stitch from 5B to 1B, then another short stitch from 4C to 2C. Miss one space, then come up at 4E to start the next diamond. Continue to the end of the line. 2 Using a contrasting colour, come up at 6E to start the next row. Repeat the sequence of three stitches and one space, working from right to left.

Second row of stitches is worked into spaces below first row

·········Technique Variation·········· When Hungarian stitch is worked in just a single colour it produces a smooth, brocade-like texture which provides a good background for detailed tent stitch designs.

Hungarian Diamond 1

Work progressively longer and shorter stitches B C D E

·········· Level ··········· Easy ··········· Uses ············ Striped backgrounds and fillings ········· Method ········· Hungarian stitch variation on larger scale ······· Materials ······· Single canvas; any thread

G

1 2 3 4 5 6 7 8 9 10 11

2

A B C D E F

H

I

1 2 3 4 5 6 7 8 9 10 11

1 Start at top left. Work three progressively longer stitches from 5A to 3A, 6B to 2B and 7C to 1C, then a shorter stitch from 6D to 2D. Repeat these four stitches to the end of the row and work two shorter stitches to complete the final diamond. 2 Use a second colour for the next row. Start with a short stitch from 9K to 7K and continue as above, working from right to left. Repeat these two rows to fill the required area.

Stitch second row in opposite direction, working into spaces left below first

Straight Ne e dl e p oint Stitche s

Single Twill

Bargello 1

A B C D E

1 2 3 4 5 6 7 8 9

··········· Level ··········· Easy ··········· Uses ············ Ridged fillings and woven effect backgrounds ········· Method ········· Diagonal rows of vertical straight stitches ······· Materials ······· Single canvas; any thread

Work each stitch a single thread higher than preceding stitch

Start at the top left with a straight stitch from 9A to 5A. Work the next from 8B to 4B and continue stitching upwards. Start the next row at 9E to 5E, and continue working downwards. Repeat these two rows to continue.

Double Twill A B C D E

··········· Uses ············ Textured fillings and backgrounds ········· Method ········· Alternate rows of long and short upright stitches, worked diagonally ······· Materials ······· Single canvas; any thread

1 2 3 4 5 6 7 8 9

1 2 3 4 5 6 7 8 9 10 11

····· Other Names ····· Florentine stitch; flame stitch ·········· Level ··········· Easy ··········· Uses ············ Large patterned areas ········· Method ········· Straight stitch worked in wide zigzag bands ······· Materials ······· Single canvas; any yarn in a selection of toning and contrasting colours

Insert needle into base of previous stitch

·········· Level ··········· Easy

121

A B C D E F G H

2

C D E F G H I J

4 5 6 7 8 9 10 11 12 14 15 16 17 18 19

1 Start at the left with a straight stitch from 11A to 7A. Make three stitches upwards from 9B to 5B, 7C to 3C and 5D to 1D. Work the next three stitches downwards, leaving two threads between each, ending at 7G. Come up at 9H and repeat this sequence to the end of the row. Work short stitches over two threads

Work the first row as for single twill stitch (see above). Start the second row with 7E to 5E and continue working short stitches downwards. Repeat these two rows to fill the required area.

2 Stitch the next row in the same way, starting at 15A and using a lighter shade of the same colour. The third row is worked in a paler yarn, starting at 19A. Repeat these three rows to continue. ················Technique Variation················· To create a wider zigzag with a stepped effect, work blocks of two and three stitches in the centre of the diagonals. Add in a contrasting colour yarn to give more visual interest.

122

St r ai gh t N e e d le p o in t S t it c h e s

Chevron 1

A B C D E F

H I J

1 2 3 4 5 6 7 8

········· Method ········· Alternate zigzag bands of long and short stitches ······· Materials ······· Single canvas; any thread in one or two colours

1 2 3 4 5 6 7 8 9 10

Work long stitches over four threads

·········· Level ··········· Easy ··········· Uses ············ Backgrounds and fillings

2

A B C D E F G H I J

1 Start at the top left corner with a stitch from 8A to 4A. Work three more stitches upwards from 7B to 3B, 6C to 2C and 5D to 1D, then two downwards stitches from 6E to 2E and 7F to 3F. Repeat this sequence to the end of the row.

Work short stitches over two threads

·········Technique Variation········· Emphasise the zigzag pattern within chevron stitch by working alternate rows in different colour threads.

2 Begin the next row with a short stitch from 7J to 5J. Continue stitching from right to left, working into the base of the previous row. Repeat these two rows to continue.

Hungarian Ground 1

··········· Level ··········· Intermediate ··········· Uses ············ Geometric fillings ········· Method ········· Alternate straight stitch zigzags and diamonds ······· Materials ······· Single canvas; any thread

A B C D E F G H I

1 2 3 4 5 6 7 8 9

2 Work diamond block of four short stitches into space below chevron

A B C D E F G H I

1 2 3 4 5 6 7 8 9 10 11 12 13

1 Start at the top left corner. Work three long stitches upwards from 7A to 3A, 6B to 2B and 5C to 1C and one stitch downwards from 6D to 2D, then repeat this block to the end of the line. Using the second colour, make four short stitches from 8H to 6H, 7G to 5G, 9G to 7G and 8F to 6F. Start the next diamond at 8D. 2 With the first colour, work three stitches downwards from 11I to 7I, 12H to 8H and 13G to 9G, then two stitches upwards from 12F to 8F and 11E to 7E. Repeat to the end of the row, then fill in the spaces with diamonds.

Work third row as mirror image of first

Straight Ne e dl e p oint Stitche s

123

Straight Cushion 1 ··········· Level ··········· Intermediate ··········· Uses ············ Chequerboard fillings ········· Method ········· Alternate rows of diamonds worked in long and short straight stitches ······· Materials ······· Single canvas; any thread or yarn in two colours

A B C D E F G H I

1 2 3 4 5 6 7 8 9 10 11

Work three diagonal rows of three short stitches

2

Stitch third row of diamonds directly below first diamonds

1 Work the first row as step 1 of Scottish diamond stitch (see below) starting at 5A. Using a second colour, work three rows of stitches, from 8H to 6H, 7G to 5G, 6F to 4F; 7E to 5E, 8F to 6F, 9G to 7G and 10F to 8F, 9E to 7E and 8D to 6D. 2 Work the third row as the first, starting at 11K and stitching from right to left. Continue working alternate rows of dark and light diamonds.

A B C D E F G H I J

1 2 3 4 5 6 7 8 9 10 11 12 13

·········Technique Variation········· Work straight cushion stitch in two shades of the same colour, instead of two contrasting yarns, to give a subtle brocade effect for fillings or large-scale backgrounds.

Scottish Diamond 1 ·········· Level ··········· Intermediate ··········· Uses ············ Textured fillings and backgrounds ········· Method ········· Straight stitch chevrons and diamonds worked in alternate rows ······· Materials ······· Single canvas; any thread

1 2 3 4 5 6 7 8 9

2

A B C D E F G H I J K L M

1 2 3 4 5 6 7 8 9 10 11

Make five stitches for each diamond A B C D E F G H I J K L M

1 Start at top left. Work five upright stitches in a diamond shape from 7B to 5B, 8C to 4C, 9D to 3D, 8E to 4E and 7F to 5F. Repeat to the end of the line, leaving one space between each diamond. 2 Work a zigzag line above and below the diamonds. Start at 4A to 6A, then work three stitches upwards from 3B to 5B, 2C to 4C and 1D to 3D, and two downwards from 2E to 4E and 3F to 5F. Repeat to the end of the row, then work a mirror image below, starting at 8M to 6M. Continue working alternate rows of diamonds and chevrons to fill the required area.

Work short stitches over two threads

124

St r ai gh t N e e d le p o in t S t it c h e s

Diamond 1

Work each line of diamonds into spaces below previous row 1 2 3 4 5 6 7

·········· Level ··········· Easy

A B C D E F G H

··········· Uses ············ Fillings and backgrounds ········· Method ········· Large-scale variation of Hungarian stitch ······· Materials ······· Single canvas; any thread in one or two colours

2

······· Materials ······· Single canvas; any thread

Stitch second row in opposite direction

2 The second row is worked from right to left, using the same or a different colour. Start the first block at 8N to 6N, then repeat these two rows to continue.

1

········· Method ········· Two rows of interlocking straight stitch triangles, repeated horizontally

1 2 3 4 5 6 7 8 9

1 Start at top left. Work five upright stitches from 5A to 3A, 6B to 2B, 7C to 1C, 6D to 2D and 5E to 3E. Repeat to the end of the line, leaving one space between each block.

Work eight upright stitches to form first triangle

··········· Uses ············ Textured single-colour background or filling

L M N

Work diamonds in blocks of five stitches

Long Stitch Triangles

·········· Level ··········· Easy

A B C D E F G H I

A B C D E F

H I

1 2 3 4

Make longest stitches below shortest stitches of previous row

2

A B C D E F G H I J K L M N O

Q

1 2 3 4 5 6 7

1 Start in the top left corner with five progressively longer stitches, worked from 2A to 1A, 3B to 1B, 4C to 1C, 5D to 1D and 6E to 1E. Work three shorter stitches from 5F to 1F, 4G to 1G and 3H to 1H. Repeat this block to the end of the line. 2 Make a long stitch from 7Q to 2Q, then work four shorter

stitches from 7P to 3P, 7O to 4O, 7N to 5N and 7M to 6M, and three longer stitches from 7L to 5L, 7K to 4K and 7J to 3J. Repeat these two rows to fill the required area.

Stitch second row from right to left

Straight Ne e dl e p oint Stitche s

Lozenge 1

1 2 3 4 5 6 7 8 9 10 11

5 6 7 8 9 10 11

·········· Level ··········· Intermediate ··········· Uses ············ Harlequin filling or background for large areas ········· Method ········· Elongated diamonds, worked in interlocking diagonal rows ······· Materials ······· Single canvas; two colours of any thread

Work ten vertical stitches to make each diamond

2 Using a different colour, begin the second row at 11G to 10G. Work the third row in the first colour, starting at 11M to 10M. Fill in the required space above the stitches with further rows in alternate colours.

1 ··········· Uses ············ Background or filling

A B C D E F G H I J K L M N O P Q R S T

1 Start at bottom left with five stitches from 11A to 10A, 11B to 9B, 11C to 8C, 11D to 7D and 11E to 6E. Complete the diamond with five more stitches from 11F to 6F, 10G to 6G, 9H to 6H, 8I to 6I and 7J to 6J. Begin the next diamond at 6K to 5K and contine working upwards.

Straight Milanese

·········· Level ··········· Intermediate

Stitch into base of stitches in previous row

2

ABC D E F GH I

Make four straight stitches for each triangle block

2

A B C D E F G H

A B C D E F G H I J K L M N

1 2 3 4 5 6 8

1 2 3 4 5 6

Stitch second triangle directly below the first

········· Method ········· Interlocking rows of triangles worked vertically to create a wave pattern

1 Start at top left. Work four horizontal stitches from 1D to 1F, 2C to 2G, 3B to 3H and 4A to 4I. Begin the next triangle at 5D to 5F and continue downwards to the end of the row.

······· Materials ······· Single canvas; any thread in one or two colours

2 Begin the next row with four stitches from 8K to 8I, 7L to 7H, 6M to 6G and 5N to 5F. Continue working upwards, then repeat these two rows to fill the required area.

125

Work second row from bottom to top

·········Technique Variation········· For a more geometric effect, work alternate rows in contrasting or toning colours, to emphasize the triangular formation of straight milanese stitch.

126

St r ai gh t N e e d le p o in t S t it c h e s

Double Brick 1

A B C D

F

····· Other Name ····· Double Gobelin filling ·········· Level ··········· Easy ··········· Uses ············ Single colour filling ········· Method ········· Interlocking rows of double straight stitches ······· Materials ······· Single canvas; any thread

2

1 2 3 4 5 6 7

Stitch second row from right to left

2 Work the second and subsequent rows in the same way, starting with a pair of stitches from 9J to 5J and 9I to 5I. Work each horizontal stitch over four threads

1 2 3 4 5 6

Work each upright stitch over one thread

2

A B C D E F G H I J K L M N O

1 2 3 4 5 6 7 8 9 10

A B C D E F G H I J K

··········· Uses ············ Small-scale fillings

······· Materials ······· Single canvas; any thread in two colours

1 2 3 4 5 6 7 8 9 10

1 Start at top left. Work two parallel stitches from 5A to 1A and 5B to 1B, then two more from 7C to 3C and 7D to 3D. Come up at 5E and continue working pairs of staggered straight stitches to the end of the row.

8 9 10

········· Method ········· Pairs of horizontal straight stitches divided by vertical stitches

J

Work each upright stitch over four threads

Brick Filling 1 ·········· Level ··········· Intermediate

A B C D E F G H I

1 Starting at bottom left, work two horizontal stitches from 10G to 10C and 9G to 9C, then a second staggered pair from 8E to 8A and 7E to 7A. Continue upwards, then work the second row downwards in the same way, starting at 1K to 1G. Repeat these two rows to fill the required area. 2 Using a contrasting thread, work short upright stitches at the points where pairs of stitches meet, starting with 1G to 2G.

Avoid catching long stitches with needle

·········Technique Variation········· Working the vertical stitches (see step 2, above) in the same thread as the horizontal stitches produces a more textured surface with a quilted appearance.

Straight Ne e dl e p oint Stitche s

127

Long and Short Brick Leave two spaces between each pair of straight stitches

1

ABCDEFGHI

·········· Level ··········· Intermediate ··········· Uses ············ Fillings and backgrounds ········· Method ········· Alternate pairs of long and short stitches ······· Materials ······· Single canvas; one or two colours of any thread

Work each long stitch over six horizontal threads

1 2 3 4 5 6 7 8 9 10 11

····· Other Name ····· Brick stitch

Use a contrasting thread for short stitches

A B C D E F G H I J

2

1 2 3 4 5 6 7 8 9 10 11

1 Start at top left and work two stitches from 7A to 1A and 7B to 1B. Make two more from 7E to 1E and 7F to 1F. Repeat to the end of the row, leaving two spaces between each pair of stitches. Start the next row with 11H to 5H and 11G to 5G and continue working from right to left.

Stitch into same holes as previous stitches

2 Fill in the spaces with pairs of short stitches, starting with 5C to 3C and 5D to 3D. Repeat these two steps to continue.

Basket Filling 1

2

1 2 3 4

A B C D E F G H I J K L

1 2 3 4 5 6 7 8 9 10 11 12

5 6

·········· Level ··········· Intermediate ··········· Uses ············ Large-scale woven-look filling or background ········· Method ········· Straight stitch worked in alternate vertical and horizontal blocks ······· Materials ······· Single canvas; any thread

7

A B C D E F G H I

J K L

Slip needle under vertical stitch before inserting

1 Start at top left. Work a block of five upright stitches from 7B to 1B, 7C to 1C, 7D to 1D, 7E to 1E and 7F to 1F, then work a block of five horizontal stitches from 2L to 2F, 3L to 3F, 4L to 4F, 5L to 5F and 6L to 6F. Repeat to the end of the line. 2 Work five upright stitches below the horizontal block, starting with 12K to 6K and ending with 12G to 6G. Work a horizontal block under the upright block, starting at 7A to 7F and ending with 12A to 12F. Repeat to the end of the line, then repeat these two rows to continue.

Work each stitch over six threads

Diagonal Needlepoint Stitches T

his section starts with tent stitch and its variations, which are the most frequently used needlepoint stitches. Like all the other diagonal stitches, they are worked at a slant across the thread intersections. This can have the effect of distorting the square weave of the canvas, even when it is mounted in a frame. The finished piece should be stretched and blocked back into shape. Some diagonal stitches are worked on single canvas, others on double. Always match the thickness of the thread or yarn to the weight of the canvas being used, so that no background threads are visible.

Half Cross 129 Basketweave Tent 129 Tent 129 Trammed Tent 129 Gobelin 130 Encroaching Gobelin 130 Reversed Sloping Gobelin 131 Canvas Stem 131 Florence 132

Cashmere 132 Diagonal 133 Byzantine 133 Jacquard 134 Moorish 135 Milanese 135 Mosaic 136 Cushion 136 Scottish 137 Chequer 137

D iagonal Ne e dl e p oint Stitche s

Half Cross

129

Basketweave Tent A

B

C

D

F

1 2

1 2 3 4 5

3 4

····· Other Names ····· Continental stitch; diagonal tent stitch

·········· Level ··········· Easy ··········· Uses ············ Charts; printed canvases ········· Method ········· Small slanting stitches ······· Materials ······· Double canvas; thick yarn ············· Tip ············· Turn work upside-down for return journey to stitch rows in same direction

Tent

A B

·········· Level ··········· Intermediate

Start at top left. Stitch over one intersection, from 2A to 1B and 2B to 1C, then repeat to the end of the line. Begin the next row with 2F to 3E and 2E to 3D. Repeat these two rows to continue.

Take needle behind two threads to make long stitch on reverse side

1

A

B

C

D E F

Starting at top right, make a stitch from 2E to 1F. Work the next row upwards from 3E to 2F and 2D to 1E and the third downwards from 2C to 1D, 3D to 2E and 4E to 3F. Begin the following row with 5E to 4F: continue working up, then down.

··········· Uses ············ Backgrounds and fillings ········· Method ········· Tent stitch worked in diagonal rows ······· Materials ······· Single canvas; any thread

Work each stitch in same direction

2 D

E

F

A

B

C

D

E

F

G

1 2 3

1 2

····· Other Name ····· Petit point ·········· Level ··········· Easy ··········· Uses ············ Backgrounds; detailed charted or printed patterns ········· Method ········· Worked horizontally ······· Materials ······· Single canvas; any thread

1 Start at top right and sew a

diagonal stitch from 2F to 1G. Work the second stitch from 2E to 1F and repeat to the end of the row.

2 Turn the canvas the other way up and repeat step 1 or work the second row from left to right, starting with 2B to 3A. Repeat these two rows.

Keep needle at an angle

······················Stitch Variation······················ Trammed tent stitch is sewn over long straight stitches worked through the small holes on a double canvas. This gives a ridged effect and because it is hardwearing, this stitch is often used for seat covers.

130

Di agon al N e e d l e p o in t S t it c h e s

Gobelin A B C D

1

G H

1 2

2

3

····· Other Names ····· Oblique Gobelin; gros point

F G H

1 2 4 5

Work each stitch over one vertical and two horizontal threads

··········· Uses ············ Backgrounds and fillings

······· Materials ······· Single canvas, any thread

E

3

·········· Level ··········· Easy

········· Method ········· Long diagonal stitches worked in horizontal rows

A B C

Work into base of previous stitch

1 Start at top right. Make the first diagonal stitch from 3G to 1H and the next from 3F to 1G. Repeat to the end of the line. 2 Begin the return journey with two stitches from 5A to 3B and 5B to 3C, and continue to the end of the row. Repeat these two rows to fill the required area.

Encroaching Gobelin

·········· Level ··········· Easy

1

A B C

F G

······· Materials ······· Single canvas; any yarn

E

F

G

1 2 3 4

1 2 3 4

5 6

··········· Uses ············ Backgrounds; filling for plain or shaded areas ········· Method ········· Overlapping rows of diagonal stitches, worked horizontally

2

A B C

Work over five horizontal threads to fill larger areas Stitch over one vertical and three horizontal threads

Work second row so stitches overlap first row by one thread

1 Starting at top right, work a row of diagonal stitches, beginning with 4F to 1G and 4E to 1F. 2 Work the first stitch of the next row from 6A to 3B and the second from 6B to 3C. Continue to the end of the line and repeat these two steps to continue.

D iagonal Ne e dl e p oint Stitche s

Reversed Sloping Gobelin

Work second row at right angles to first

2

1

131

1

A B C D E

1 2 3 4 5 6

3 4 5 6 7 8

·········· Level ··········· Easy ··········· Uses ············ Plain or shaded fillings and backgrounds ········· Method ········· Vertical rows of diagonal straight stitches worked alternately down and up ······· Materials ······· Any canvas; any thread

Make stitch over two thread intersections

7 8

A B C

·········Technique Variation·········

1 Start at top left and work a diagonal stitch from 3C to 1A. Work the next stitch from 4C to 2A and repeat downwards to the end of the line. 2 Begin the next line with a stitch in the opposite direction from 6E to 8C, then continue working upwards. Repeat these two rows.

Canvas Stem 1

A B C D E F G

1 2 3 4 5 6

·········· Level ··········· Intermediate ··········· Uses ············ Textured background, filling or chevron border ········· Method ········· Two upright rows of diagonal stitches, set in a V-shape, and divided by lines of back stitch ······· Materials ······· Double canvas; two colours of any yarn

To produce a shaded effect, work the stitches in the lower part of the stitched area with a selection of progressively darker tones of the main colour.

Ensure back stitches conceal horizontal threads

Work each stitch over three thread intersections

2

A

B

C

D

E

1 2 3 4

7

5

8

6

9

7 8 9

1 Starting at top left, make a diagonal stitch from 4D to 1A. Work the second stitch directly below, from 5D to 2A, and continue stitching downwards. Begin the next row at 6G to 9D. Make another stitch from 5G to 8D and continue working upwards. Repeat these two rows to cover the required area. 2 Make two back stitches from 4D to 3D and 5D to 4D and continue downwards. Work further rows of back stitch into the holes between the lines of diagonal stitches.

Use contrasting thread for back stitch

132

Di agon al N e e d l e p o in t S t it c h e s

Florence 1 ····· Other Name ····· Diagonal mosaic stitch

A B C D E

········· Method ········· Alternate long and short slanting stitches, worked diagonally ······· Materials ······· Any canvas; any thread

2

2 3 4 5 6 7

Work first diagonal stitch over one intersection

A B C D E F G H

2 3 4 5 7

Make second stitch over two intersections

1 Start at top left. Make a short stitch from 1B to 2A,

followed by a longer stitch from 1C to 3A. Continue working alternate long and short stitches downwards to the bottom edge of the area being filled.

Work into top of previous stitch

2 The next row is worked upwards using the same or a different colour yarn. Begin with a short stitch from 6J to 7I and a long one from 5J to 7H and repeat to the end of the row. Repeat these two steps to continue. Stitch second row in opposite direction

1

A B C D

G H

1 3 4 5 6

2

·········· Level ··········· Easy

········· Method ········· Groups of three diagonal stitches worked vertically ······· Materials ······· Any canvas; any thread

J

1

Cashmere

··········· Uses ············ Textured plain or striped backgrounds and fillings

I

6

·········· Level ··········· Easy ··········· Uses ············ Plain or striped fillings

I J

A B C D E F G H

1 2 3 4 5 6 7 8 9 10

Work in blocks of one short and two long stitches

1 Starting at top left, make a short diagonal stitch from 1B to 2A. Work two longer stitches from 1C to 3A and 2C to 4A. Repeat these three stitches, working downwards to the end of the row. 2 The next row is worked upwards. Make a short stitch from 8H to 9G and the next two long stitches from 7H to 9F and 6H to 8F. Repeat steps 1 and 2 to fill the required area.

·········Technique Variation········· Work alternate rows in a second colour to create a pattern of ridged diagonal stripes.

D iagonal Ne e dl e p oint Stitche s

Diagonal

Work in blocks of four stitches

1

A B C D E F G

4 5 6 7 B C D E F G

····· Other Name ····· Step stitch

2

··········· Uses ············ Plain or striped filling or background for large areas

······· Materials ······· Any canvas; one or two colours of any thread

1 2

1 2 3 4 5 6 7

·········· Level ··········· Easy

········· Method ········· Graduated straight stitches worked in diagonal rows

Byzantine 1

133

·········· Level ··········· Easy

A B C D E F G H I J K

1 2 3 4 5 6 7 8 9 10 11 12

··········· Uses ············ Large scale fillings and backgrounds ········· Method ········· Diagonal straight stitches, worked in zigzag lines

2

ABCDEF G H I J K L M

1 2 3 4 5 6 7 8 9 10

······· Materials ······· Any canvas; any thread

15

3 Work the second row in the same or a contrasting colour

1 Start at the top left corner. Each row is made up of blocks of four stitches, beginning with 1C to 3A, 1D to 4A, 1E to 5A and 2E to 5B. Work the first stitch of the next block from 3E to 5C and continue working downwards. 2 The next row is worked upwards in the same way. Make the first block from 13I to 15G, 12I to 15F, 11I to 15E and 11H to 14E. Repeat these two rows to continue and fill in the spaces with additional diagonal stitches (see p.19). ······················· Technique Variation ······················· For a more unusual effect, use one colour to sew the diagonal stitch, then work rows of contrasting back stitch (see p.40) between the lines. This will conceal any canvas that may show through and creates the illusion of a set of diagonal laid threads couched by zigzag lines of back stitch.

A B C D E F G H I J K L M N O P

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 Start at top left. Each zigzag is made up of repeated blocks of six diagonal stitches. Work the first four stitches downwards from 1D to 4A, 2D to 5A, 3D to 6A and 4D to 7A. The next two stitches are worked to the right, from 4E to 7B and 4F to 7C. Start the next block at 4G. 2 Work the second row level with and to the right of the first, starting at 1J to 4G. Make further rows to the right to fill the area required. 3 Complete any space at the bottom left corner with extra zigzags, starting at 10A to 7D, then work short stitches to fill the gaps (see p.19).

134

Di agon al N e e d l e p o in t S t it c h e s

Jacquard 1

A B C D E F G H I

1 2

2

A B C D

E

F

G H I

J

K

L

M

1 2

3

3

4

4

5

5

6

6

7

7

8

8

·········· Level ··········· Intermediate Make eight stitches for each block

··········· Uses ············ Zigzag filling for large areas

Work each diagonal stitch over two intersections

········· Method ········· Stepped rows of alternate diagonal and tent stitch

4

······· Materials ······· Single canvas; one or two colours of any thread Work tent stitch over one intersection

3

A B C D

E

F

G

H

I

J

K

L M

1

N

2 3

1

4

2

5

3

6

4

7

5

8

6

9

7 8

10

Fill in unworked canvas with part stitches

11 12

A B C D E F G H I J K L M N

1 Start at top left. Work a block of five diagonal stitches downwards from 3D to 1F, 4D to 2F, 5D to 3F, 6D to 4F and 7D to 5F, and three to the right from 7E to 5G, 7F to 5H and 7G to 5I. ·········Technique Variation········· Work this stitch in one single colour to create a brocade-like background. Lustrous threads give a smooth, shiny surface that will add to the woven effect.

2 Repeat this block to the bottom right corner of the area to be filled. 3 Using the second colour, work a block of five tent stitches downwards from 4C to 3D, 5C to 4D, and 6C to 5D, 7C to 6D and 8C to 7D and three to the right from 8D to 7E, 8E to 7F, 8F to 7G. Repeat this block to the end of the row. 4 Repeat step 1, starting with 6A to 4C, then continue working these two rows in alternate colours to fill the space.

D iagonal Ne e dl e p oint Stitche s

135

Moorish 1 ·········· Level ··········· Intermediate ··········· Uses ············ Large-scale filling with zigzag pattern ········· Method ········· Alternate rows of graduated diagonal stitches and tent stitch ······· Materials ······· Any canvas; any thread in one or two colours

Work diagonal stitches to form row of square blocks

1 2 3 4 5 6

2 A B

A B C D E F G H I J K

1 2 3 4 5 6 7 8 9 10 11 12

3

Work the first row downwards

2

Make stitches over three, then two instersections

·········· Level ··········· Intermediate

······· Materials ······· Any canvas; any thread

2 3 4 5 6 7 8 9 10

Make tent stitch over one intersection

2 Using the second thread, work a stepped line of tent stitch to the left of the first row. Start with 2B to 3A, 3B to 4A, 4B to 5A and 4C to 5B, then repeat these four stitches. Repeat steps 1 and 2 to continue, working each successive row into the spaces left by the row before.

1

········· Method ········· Diagonal rows of alternate long and short back stitch forming triangular pattern

D

1 Start at top left. Work three diagonal stitches which increase in length from 2B to 1C, 3B to 1D and 4A to 1E, then a shorter stitch from 4C to 2E. Repeat these four stitches to continue the row.

Milanese

··········· Uses ············ Brocade-like background or filling for larger areas

C

A B C D E F G H I J K

A B C D E F G H I J K

1 2 3 4 5 6 7 8 9 10 11 12

A B CDE FGH I J K

1 2 3 4 5 6 7 8 9 10 11 12 13 14

1 Start at top right. Work a long stitch from 5G to 1K and a short stitch from 6F to 5G, then repeat these two stitches to the end of the line. Start the next row with a short stitch from 10C to 12A and a long stitch from 7F to 10C, and repeat these two stitches, working upwards. 2 Start the third row with 5I to 3K and 8F to 5I, and repeat these two stitches, working downwards. 3 Work the fourth row upwards, starting with 10E to 14A and 9F to 10E. Repeat these four rows to continue.

136

Di agon al N e e d l e p o in t S t it c h e s

Mosaic 1

A B C D E F G H I

1 2 3

Work alternate long and short diagonal stitches

··········· Uses ············ Fine textured backgrounds

······· Materials ······· Any canvas, any thread

A B C D E F G H I

2

1 2 3

·········· Level ··········· Easy

········· Method ········· Long and short diagonal stitches worked in horizontal rows to form square pattern

Fill in spaces with short stitches

1 Start at top left with two diagonal stitches from 1B to 2A and 1C to 3A. Repeat these two stitches to the end of the line.

·········Technique Variation········· Change the visual effect by working the squares in two or more toning or contrasting colours to make a chequerboard pattern, ideal for filling smaller areas.

2 Work the second row in the opposite direction. Make a short stitch from 3H to 2I to complete the first square, then continue working towards the left. Repeat these two rows to fill the required area.

Cushion 1

A B C D E

1 2

2

A

B

C

D

E

F

G

H

I

J

1 2

3

3

4

4 5

·········· Level ··········· Easy ··········· Uses ············ Filling or background with regular pattern of squares ········· Method ········· Graduated diagonal stitches worked in squares ······· Materials ······· Any canvas; any thread

Work diagonal stitches to form a square block

1 Starting at the top left corner, work five stitches from 1B to 2A, 1C to 3A, 1D to 4A, 2D to 4B and 3D to 4C. Start the next block at 1E to 2D and continue to the end of the row. 2 Work the second row in the opposite direction, starting at 5G to 4H. Repeat steps 1 and 2 until the required space is filled.

·········Technique Variation········· To prevent the canvas distorting, the square blocks can be worked in alternate directions using one or two colours.

D iagonal Ne e dl e p oint Stitche s

Scottish

Make five diagonal stitches to fill square

2 ·········· Level ··········· Intermediate ··········· Uses ············ Filling for large areas ········· Method ········· Cushion stitches framed with a line of tent stitch

1

A B C D E F G H I

1 2 3 4 5 6 7 8 9 10

······· Materials ······· Any canvas; any thread

Work tent stitch over one thread intersection

Chequer

A B C D E F G H I J

1 2 3 4 5 6 7 8 9

1 Starting at top left, work the tent stitch frame (see p.129). Make a grid of horizontal and vertical rows, leaving a square of three canvas threads between the lines. 2 Fill the squares with cushion stitch (see p.136), using a second colour. Work the first block from 2C to 3B, 2D to 4B, 2E to 5B, 3E to 5C and 4E to 5D, then come up at 2G to start the next square. Fill in spaces with squares of tent stitch

1 ·········· Level ··········· Intermediate

2

A B C D E F G H I J

1 2 3 4 5 6

Leave four threads between each cushion stitch

A B C D E F G H I J K L M

1 2 3 4 5 6 7 8 9

··········· Uses ············ Textured fillings ········· Method ········· Alternate large cushion stitches and square tent stitch blocks ······· Materials ······· Any canvas; any thread in one or two colours

137

1 Start at top left with the first cushion stitch. Make seven diagonal stitches from 1B to 2A, 1C to 3A, 1D to 4A, 1E to 5A, 2E to 5B, 3E to 5C and 4E to 5D. Begin the next block with 1J to 2I and start the next row at 6E to 5F. 2 Using a second colour, work squares of tent stitch (see p.139) in the spaces between the cushion stitches. Starting with 2H to 1I, work four stitches, then work another three rows directly below. Repeat to fill all the unworked squares.

Cross and Star Needlepoint Stitches T

his section includes all the stitches that are worked with a combination of horizontal, vertical and diagonal stitches. The various cross stitches feature two or more straight stitches that cross over each other, while the individual stitches that make up the star stitches radiate from a central point. The heavier cross variations are all worked on double canvas to give better coverage; the other stitches use single canvas. Whichever background is being used, the chosen thread should be thick enough to cover the canvas completely. This group of stitches should all be worked in a frame.

Cross 139 Diagonal Cross 139 Double Cross 139 Upright Cross 140 Diamond Cross 140 Smyrna Cross 140 Double Leviathan 141 Diagonal Tweed 141 Broad Cross 142 Cross-corner Cushion 142 Brighton 143 Rice 143

Plaited Gobelin 144 Greek 144 Plait 145 Fishbone 145 Fern 146 Fir 146 Rhodes 147 Half Rhodes 147 Star 148 Eye 148 Diamond Eye 149 Fan 149

C ros s and Star Ne e dl e p oint Stitche s

Cross

Diagonal Cross A

B

D

A B C D

E

1 2 3 4 5 6 7

1 2 3

····· Other Name ····· Berlin stitch

4

Work each diagonal stitch over one intersection

·········· Level ··········· Easy ··········· Uses ············ Charted and printed designs; backgrounds ········· Method ········· Individual cross stitches, worked horizontally ······· Materials ······· Double canvas; any thread or yarn

1

A

1 2

B

C

D

E

G

·········· Level ··········· Easy

······· Materials ······· Single canvas; any thread

H

Stitch over two intersections

··········· Uses ············ Backgrounds and fillings ········· Method ········· Single cross stitches, worked in diagonal rows

Start at top right with two stitches from 1E to 2D and 1D to 2E. Begin the next cross at 1D to 2C and continue to the left. Work the first cross of the next row at 3A to 2B and 3B to 2A, then continue to the right. Repeat these two rows.

Double Cross

Work each cross over one thread intersection

Start at bottom left. Work three crosses from 5A to 7C and 5C to 7A; 7E to 5C and 7C to 5E; 5C to 3A and 5A to 3C. Begin the next row at 1A to 3C and 1C to 3A, and start the second cross at 3C to 5E. Repeat these two rows.

2

B

3

········· Method ········· Spaced cross stitches with overlapping rows of elongated crosses ······· Materials ······· Double canvas; thin and thick thread in two colours

E

F

G

H

1 2 4

5

··········· Uses ············ Two-coloured backgrounds

C

3

4

·········· Level ··········· Intermediate

139

5 6 7

Make crosses below spaces in previous row

1 Start at top right, using the fine thread. Make two crosses from 2H to 3G and 2G to 3H, then 2F to 3E and 2E to 3F and continue towards the left. Begin the next row with 4C to 5B and 4B to 5C and 4E to 5D and 4D to 5E. Repeat these two rows. 2 Fill in the spaces with rows of long crosses in the thick thread, worked in alternate directions. Start with 4F to 1G and 4G to 1F and work towards the left. Begin the next row with a cross from 6A to 3B and 6B to 3A and continue towards the right.

Work second stitch of each cross in same direction

140

Cr oss an d St a r Nee d l e p o in t S t it c h e s

Upright Cross

Diamond Cross

A B C D E F

1 2 3 4 5 6 7

A B C

····· Other Name ····· Straight cross ·········· Level ··········· Easy ··········· Uses ············ Fine textured backgrounds ········· Method ········· Crosses worked singly in interlocking diagonal rows ······· Materials ······· Any canvas; any thread

·········· Level ··········· Intermediate Start at top left with two crosses from 3B to 1B and 2A to 2C, and 4C to 2C and 3B to 3D; continue downwards. Start the next row with 7D to 5D and 6C to 6E, 6C to 4C and 5B to 5D and continue upwards. Repeat these two rows to fill the required area.

··········· Uses ············ Raised backgrounds and textured fillings ········· Method ········· Cross stitches worked over larger upright cross stitches ······· Materials ······· Single canvas; any thread

Smyrna Cross 1

E F G

1 2 3 4 5 6 7

Ensure diagonal stitches lie in same direction

Start at top left. Work an upright cross from 3E to 3A and 5C to 1C covered by a cross from 4D to 2B and 4B to 2D. Begin the next stitch at 5G to 5C, then continue working in diagonal rows.

Always work stitches in same order

2

A B C D E

1 2 3 4 5

A B C D

1 2 3 4 5

····· Other Name ····· Leviathan stitch ·········· Level ··········· Easy ··········· Uses ············ Raised backgrounds ········· Method ········· Upright cross worked over cross stitch ······· Materials ······· Single canvas; any thread

Work stitch over five thread intersections

1 Start at top left with a diagonal stitch from 1A to 5E crossed by a second stitch from 5A to 1E. Bring the needle out at 5C. 2 Make an upright stitch to 1C and a horizontal stitch from 3A to 3E. Bring the needle out at 1E to begin the next stitch, then continue working in horizontal rows.

·········Technique Variation·········· Work alternate crosses in toning or contrasting colours to create an all-over chequer pattern, for a colourful background.

C ros s and Star Ne e dl e p oint Stitche s

141

Double Leviathan 1

2

A B C D E

1 2 4 5

········· Level ··········· Intermediate

······· Materials ······· Single canvas; any yarn or thread – lustrous pearl cotton gives good result

1 2 3 4 5

A B C D E

Stitch cross over four thread intersections

··········· Uses ············ Highly textured filling ········· Method ········· Smyrna cross variation

Work two pairs of diagonal stitches over cross

3

1 Start at top left with a cross stitch from 1A to 5E and 1E to 5A. Work two diagonal stitches from 5D to 1B and 2A to 4E and bring the needle out at 5B.

1 2 3 4

2 Make a diagonal stitch to 1D and come up at 2E. 3 Insert the needle at 4A, then finish with an

5

upright cross from 1C to 5C and 3A to 3E. Start the next stitch at 5A and continue in horizontal rows.

A B C D

Diagonal Tweed 1 ·········· Level ··········· Intermediate ··········· Uses ············ Two-colour filling with raised surface ········· Method ········· Smyrna crosses alternated with large crosses covered by small upright crosses ······· Materials ······· Single canvas; two colours of any thread

A B C D E F G

1 2 3 4 5 6 7

2

A B C D

E

F

G

H

I

1 2 3

Work cross over two thread intersections

1 Starting at top left, work a series of small Smyrna cross stitches (see left). Leave two threads between each stitch and work the crosses in subsequent rows beneath these gaps. 2 Using the second thread, work a cross stitch from 6H to 2D and 6D to 2H. Make a horizontal stitch from 4E to 4G, then an upright stitch from 6F to 3F. Start the next large cross at 6D and repeat along the row.

4 5 6 7

Use a contrasting colour for large double crosses

142

Cr oss an d St a r Nee d l e p o in t S t it c h e s

Broad Cross 1 ·········· Level ··········· Intermediate ··········· Uses ············ Basketweave filling for large areas ········· Method ········· Large square crosses worked in horizontal rows ······· Materials ······· Single canvas; any thread

A B C D E F G H I J K L M

1 2 3 4 5 6 7

2

Work straight stitches over six thread intersections

7C to 1C, 7D to 1D and 7E to 1E, crossed by three horizontal stitches from 5A to 5G, 4A to 4G and 3A to 3G. Begin the next block at 7I to 1I and continue to the end of the row.

2 The second row fits into the spaces between the crosses; begin the first block at 11F and work subsequent rows in the same way, alternately from right to left.

2

1 2 3 4 5 6

········· Method ········· Cushion stitch variation with two layers of stitches, forming a diagonal pattern ······· Materials ······· Single canvas; any thread – twisted embroidery cotton gives good results

Insert needle into base of previous row

1 Start at top left. Work a block of three upright stitches from

A B C D E F

··········· Uses ············ Filling for large areas

G H I J K L M

1 2 3 4 5 6 7 8 9 10 11

Cross-corner Cushion 1 ·········· Level ··········· Intermediate

A B C D E

A B C D E F G

1 2 3 4 5 6

Work second layer of stitches at right angles to first

Work square over five thread intersections

1 Start at top left with a square of nine

graduated diagonal stitches starting at 2F to 1E and ending with 6B to 5A.

2 Work five more stitches in the opposite direction, from 1F to 6A, 2F to 6B, 3F to 6C, 4F to 6D and 5F to 6E. 3 Repeat steps 1 and 2 along the row, reversing every other square. Work the next and subsequent rows as a mirror image of the one above.

3

A B C D E F G H I J

1 2 3 4 5 6

K

C ros s and Star Ne e dl e p oint Stitche s

Brighton 1

A B C D E F G H I

1 2 3 4 5

········· Method ········· Straight stitch hexagons, interspersed with contrasting upright crosses ······· Materials ······· Single canvas; two colours of any thread

2 Reverse the direction for the second hexagon, starting at 3I to 1G. Repeat these two blocks to the end of the line. Work each subsequent row as a mirror image of the one above.

·········· Level ··········· Intermediate ··········· Uses ············ Solid lattice filling ········· Method ········· Back stitch square worked over large cross stitch ······· Materials ······· Single canvas; one thick and one fine thread

A B C D E F G H I J K L M

1 2 3 4 5 6 7 8 9

Work upright cross in space between diagonal stitches

3 Using a contrasting thread, work an upright cross from 4E to 6E and 5D to 5F. Repeat to fill each space.

Work back stitch in contrasting colour

1 ····· Other Name ····· William and Mary stitch

3

1 Starting at top left, make a hexagonal block of five diagonal stitches from 1C to 3A, 1D to 4A, 1E to 5A, 2E to 5B and 3E to 5C.

Rice

E F G H I J K L M

1 2 3 4 5 6 7 8 9

Alternate direction of diagonal stitches for each block

·········· Level ··········· Intermediate ··········· Uses ············ Dense fillings and backgrounds

2

A B C

A B C D E F G H I J K L

1 2 3 4 5

2 Make each cross over five intersections

1 Start at top left. Using the thick thread, make a large cross stitch from 5A to 1E and 5E to 1A. Begin the next cross at 5E to 1I and continue along the row. 2 With the fine thread, work four back stitches over the first cross from 3E to 5C, 1C to 3E, 3A to 1C and 5C to 3A. Repeat for each cross, starting the next back stitch square at 3I to 5G. Work the following rows in the same way, directly below the first.

1 2 3 4 5

A B C D E F

H I J K L M

143

144

Cr oss an d St a r Nee d l e p o in t S t it c h e s

Plaited Gobelin 2 ·········· Level ··········· Easy

1

A

······· Materials ······· Double canvas; tapestry yarn or other thick thread

Work in overlapping rows to produce plaited effect

D E

1 2 3

C D E

4

1 2 3

Insert needle into space between stitches

··········· Uses ············ Woven effect backgrounds; filling for large areas ········· Method ········· Gobelin variation, worked in overlapping rows

A B

3

1 Start at the top right corner with a diagonal stitch

A

B

D

1 2 3

from 3E to 1D. Work the next from 3D to 1C and continue stitching towards the left.

4 5

2 Begin the next row at 4A to 2B and repeat this stitch to the end of the row. 3 Work the third row as the first, starting at 5E to 3D. Continue working alternately to the left, then right.

Greek

2 1

A B C D E

1 2 3 1 2 3

·········· Level ··········· Easy ··········· Uses ············ In single rows as outline; textured filling ········· Method ········· Herringbone variation, worked in horizontal rows ······· Materials ······· Double canvas; any thick thread

Work alternate long and short diagonal stitches

A B C D E

1 Start at top left. Make a short stitch from 1C to 3A, then a long stitch from 1A to 3E. Come up at 3C. 2 Make a short stitch to 1E, then continue

working alternate long and short stitches to the end of the line.

3 Work the second row in the opposite direction starting with 5G to 3E and 3G to 5C. Repeat these two rows to continue.

3

A

1 2 3 4

B

C

D

E

F

G

E

C ros s and Star Ne e dl e p oint Stitche s

Plait 1

A B

Work stitches in pairs

1 2 3

2

A

C

1 2 3

·········· Level ··········· Easy

Work long stitch across short stitch

··········· Uses ············ Solid ridged backgrounds, in single row as outline ········· Method ········· Rows of overlapping straight stitches ······· Materials ······· Double canvas; any thick thread

1 Start at top left with a diagonal stitch from 3B to 1A, crossed by a longer stitch from 3A to 1C. Come out at 3C to start the next pair of stitches.

Work first row upwards

Make long stitch over three intersections A

B

C

D

E

F

G

1

·········· Level ··········· Intermediate

······· Materials ······· Double canvas; tapestry yarn or other thick thread

Plait stitch can also be worked in vertical rows, depending on the effect required and the shape of the area to be filled.

2

1

········· Method ········· Diagonal stitches worked in alternate directions in vertical rows

·········Technique Variation··········

2 Work a short stitch up to 1B and come out at 3B. Continue working pairs of stitches to the end of the line, then stitch the second and subsequent rows directly below the first.

Fishbone

··········· Uses ············ Textured chevron filling for large areas

Come up at base of first stitch

5

2

6

3

7

4 5

A

B

C

6

D

Work short stitch across top of long stitch

1 Start at bottom left. Make a long diagonal stitch from 7A to 4D and a short stitch from 4C to 5D. Come up at 6A and repeat these two stitches to the end of the row. 2 Work the second row downwards. Make the first two stitches from 1D to 4G and 4F to 3G, then come up at 2D. Repeat steps 1 and 2 to fill the required area.

7

·········Technique Variation·········· Repeat step 1 only to vary the surface of the stitch and work the rows in alternate light and dark colours to make a pattern of bold ridged vertical stripes.

145

146

Cr oss an d St a r Nee d l e p o in t S t it c h e s

Fern 1

A

B

C

D

1 2

2

3

·········· Level ··········· Easy ··········· Uses ············ Ridged fillings and backgrounds ········· Method ········· Pairs of overlapping diagonal stitches worked in vertical rows ······· Materials ······· Double canvas; any thick thread or yarn

A

B

C

D

1 2 3

Work second stitch at right angles to first

1 Start at top left. Make two diagonal stitches from 1A to 3C and 3B to 1D. Bring the needle out at 2A ready to start the next stitches.

Work each row from top to bottom

2 Work the next pair of stitches directly below

the first, from 2A to 4C and 4B to 2D. Continue working downwards to the end of the row. Start the next row at 1D.

Fir 1

A B C D E

1 2 3 4 5 6 7 8 9

Work second side as mirror image of first

2

····· Other Name ····· Leaf stitch ·········· Level ··········· Intermediate ··········· Uses ············ Filling for large areas ········· Method ········· Interlocking rows of hexagonal blocks ······· Materials ······· Any canvas; any thread

1 Start at top left with an upright stitch from 1D to 5D. Work three slanting stitches from 2C to 5D, 3B to 6D and 4A to 7D. Make two more stitches directly below, from 5A to 8D and 7A to 9D. Come up at 2E. 2 Make six stitches to mirror step 1 from 2E to

5D, to 7G to 9D. Start the second block with 1J to 5J and continue working to the right. Stitch the next row into the spaces below the first.

A B C D E F G H I

J

1 2 3 4 5 6 7 8 9

Make eleven straight stitches for each block

·········Technique Variation·········· Work an upright stitch from 5D to 9D to vary the leaf shape and stitch the rows in two contrasting colours to create a striped filling.

C ros s and Star Ne e dl e p oint Stitche s

Rhodes

2 A

1 ········· Level ··········· Intermediate ··········· Uses ············ 3-dimensional fillings or background ········· Method ········· Raised square stitch worked in straight rows ······· Materials ······· Single canvas; any thread

1 2 3 4 5 6

2 3 4 5 6

··········· Uses ············ Striped raised filling for large areas or backgrounds ········· Method ········· Rhodes stitch variation worked in diagonal rows ······· Materials ······· Single canvas; any thread in one or two colours

Make ten slanting stitches to form square

3

1 Start at top left and work four diagonal stitches from 6A to 1F, 6B to 1E, 6C to 1D and 6D to 1C. Come up at 6E.

A B C D E F

2 Work another two stitches from 6E to 1B, and 6F to 1A. Insert the needle at 1B, then come up at 4F.

Ensure each block is worked in same order

1 2 3

3 Make three more stitches to complete the square from 4F to 3A, 3F to 4A and 2F to 5A. Come up at 6F, ready to make the next block. Work the following rows directly below.

Half Rhodes

·········· Level ··········· Intermediate

A B C D E F

C D E F

Work stitches anti-clockwise

1

147

5 6

Stitch each block in same direction

A B C D E F G

1 2 3 4 5 6 7

2

A B C D E F G H I

J

K

1 2 3 4 5 6 7 8 9

1 Start at top left. Make five overlapping straight stitches from 5A to 1E, 5B to 1D, 5C to 1C, 5D to 1B and 5E to 1A. Come up at 7D to make the next block, then continue working downwards to the right. 2 Stitch the second row in a different colour,

starting at 9A to 5E. Work the next and subsequent rows directly below the first.

Work the second row into the spaces below the first

148

Cr oss an d St a r Nee d l e p o in t S t it c h e s

Star 1

2

A B

1 2 3 4 5

····· Other Name ····· Algerian eye stitch

Always insert needle into same hole

··········· Uses ············ Fine textured filling

······· Materials ······· Single canvas; thick thread

1C to 3C, 1A to 3C and 3A to 3C.

2 Work four more stitches to complete the star, from 5A to 3C, 5C to 3C, 5E to 3C and 3E to 3C. Begin the next star at 1E and repeat steps 1 and 2 to continue. Work the next row directly below. Work each stitch over three threads

Enlarge centre hole to accommodate 24 stitches

1

2

1 2 3 4 A B C

D

Stitch in clockwise direction

·········· Level ··········· Intermediate

········· Method ········· Square blocks of straight stitch with open centres, outlined with back stitch ······· Materials ······· Single canvas; thick thread; embroidery scissors

Work second star to right of first

1 Start at top left with four straight stitches from 1E to 3C,

Eye

··········· Uses ············ Large scale filling

1 2 3 4 5

A B C D E

··········· Level ··········· Intermediate

········· Method ········· Straight stitch stars worked in horizontal rows

A B C D E

1 Start at top left. Enlarge the hole at 4D by carefully twisting the scissor point between the canvas threads. Work two straight stitches from 1A to 4D and 1B to 4D. 2 Make eleven more stitches into 4D, starting from 1C, 1D, 1E, 1F, 1G, 2G, 3G, 4G, 5G, 6G and 7G. Work the second half as a mirror image of the first, then start the next block at 1G. Finish off by outlining each square with back stitch (see p.40), worked over one thread.

1 2 3 4 5 6 7 A B C

E F

·········Technique Variation·········· The back stitch outline stitch can be worked in a contrasting colour to create a square grid pattern across the canvas.

C ros s and Star Ne e dl e p oint Stitche s

149

Diamond Eye 1 ··········· Level ··········· Advanced ··········· Uses ············ Geometric background or filling for large areas ········· Method ········· Straight stitch diamonds with open centres, outlined in back stitch ······· Materials ······· Single canvas; thick thread

Work each stitch over three threads

2

1 2 3 4 5 6 7 8 A B C D E F

A B C D E F G H I J K L

1 2 3 4 5 6 7 8 9

H I

1 Start at top left with an upright stitch from 1E to 5E. Make seven more stitches into the same hole from 2F, 3G, 4H, 5I, 6H, 7G, 8F and 9E, then work the second half of the diamond as a mirror image of the first.

Always insert needle into same hole

2 Work the next block in the same way, starting with 5I to 9I, and stitch the next row directly below the first. When the area is complete, outline each diamond with back stitch (see p.40) worked over one thread, to conceal any canvas that may show through.

Fan 1 ····· Other Name ····· Ray stitch ·········· Level ··········· Easy ··········· Uses ············ Fine textured filling ········· Method ········· Blocks of radiating stitches, worked in horizontal rows ······· Materials ······· Single canvas; thick thread

A

B

C

D

E

F

G

4 5 6 7

Insert the needle at same point for every stitch

2

1 2 3 4 5 6

1 Starting at bottom left, make an upright stitch

from 4A to 7A. Work six more stitches into the same hole, from 4B, 4C, 4D, 5D, 6D and 7D, to form a square. Start the next block at 4D to 7D and continue working towards the right.

2 Work the next row directly above the first and

stitch in the opposite direction, starting at 1G to 4G. Repeat steps 1 and 2 to continue.

7 8

A

B

C

D

E

F

Work stitches in opposite direction to first row

G

Looped and Tied Needlepoint Stitches T

his group includes some of the most advanced and interesting stitches, which can be used when unusual textures and multi-coloured patterns are required. The looped Rya and Turkey stitches, traditionally used for rugs, are ideal for stitching raised areas within a design and can be trimmed to give a plush finish. The tied and twisted stitches consist of long, straight stitch held down with shorter stitches to give a dense, ridged surface. All the stitches in this section should be worked in a frame on single canvas. Ensure that the thread or yarn used covers all of the background threads.

Rya 151 Turkey 151 Houndstooth 152 Knitting 153

Old Wheatsheaf 153 Tied Gobelin 154 French 154 Pineapple 155 Arrow 155

Loop e d and Tie d Ne e dl e p oint Stitche s

Rya

2

Looped thread forms diagonal stitch

1

151

A B

1 2

2

·········· Level ··········· Advanced ··········· Uses ············ Looped or cut pile stitch for carpet-like texture ········· Method ········· Looped stitch worked over knitting needle in horizontal rows ······· Materials ······· Single canvas; thick thread

Hold loose end down when pulling needle through

1 Start at bottom left. Take the needle down at

1A and bring it through at 2A, leaving a short tail. Insert at 1B and come back out at 1A.

3

A B C D

1 2

2 Pass the needle back under the diagonal loop and pull both ends tightly. Hold the knitting needle below the stitches and take the thread over and under it to form a loop. 3 Repeat steps 1 and 2 to continue, starting the second stitch at 1B. Work the next and subsequent rows directly above the first. Trim the pile if a tufted effect is required.

Turkey

Pull needle through below working thread

1 A B C

A B C D

2

1

1

3

····· Other Name ····· Ghiordes knot stitch ·········· Level ··········· Advanced

1 Start at bottom left. Insert the needle at 1B and

··········· Uses ············ Tufted filling; background

bring it out at 1A. Take it down at 1C and come out again at 1B.

········· Method ········· Looped stitch, with cut pile

2 Repeat step 1, starting at 1D. Leave a loop of thread between the stitches.

······· Materials ······· Single or rug canvas; thick thread or yarn

3 Continue working towards the right, ensuring

the loops are the same length. Work each following row one space above. When the stitching is complete, cut and trim the loops to create a pile.

Keep loops same length

1

A B C D E F G H I J

Hold loop down while making next stitch

152

Loop e d an d Tie d Ne e d l e p o in t S t it c h e s

Houndstooth 1

Re-insert needle at 1A to form looped stitch

A B C D E

1 2 3 4 5

2

·········· Level ··········· Advanced ··········· Uses ············ Raised geometric filling ········· Method ········· Looped stitches worked over diagonal stitch, with upright cross infill

A B C D E

3 4 5

······· Materials ······· Single canvas; thick and fine threads in two colours Slide needle under straight stitch and through loop

3

A B C D E F G H I J K L M N O P Q

1 2 3 4 5

Work stitches in horizontal row

4

A

B C

E

F G H I

J

K L M

1 Start at top left. Make a diagonal stitch from 5A to 1E. Bring the needle out at 1A, then slide it under the stitch from left to right. Take the needle back down at 1A and come up at 5E.

1 2 3 4

2 Pass the needle under the diagonal stitch and through the centre of the looped stitch from right to left. Take it down again at 5E to form a second looped stitch.

5

Use contrasting pearl thread for cross stitches

3 Repeat steps 1 to 3 to the end of the row, starting the next stitch at 1I. Work the next and subsequent rows directly below the first. 4 Using a finer thread in a different colour, work a series of small upright crosses (see p.140) to fill in the spaces between the stitches. Make two straight stitches from 2I to 4I and 3H to 3J, and continue along the row.

Loop e d and Tie d Ne e dl e p oint Stitche s

153

Knitting 1

2

A B C

2 3 4 5 6 7 8 9 10 11

·········· Level ··········· Easy ··········· Uses ············ Filling resembling knitted stocking stitch ········· Method ········· Overlapping diagonal stitches worked vertically in alternate directions ······· Materials ······· Single canvas; any thread

Work first row upwards

A B C

1 2 3 4 5 6 7 8 9 10 11

1 Starting at bottom left, work a slanting stitch from 11B to 7A. Repeat to the top of the row, beginning the next stitch two threads up at 9B. Come out at 1C to start the second journey.

Angle stitches in opposite direction for downwards journey

2 Work the second row downwards in the same way, starting with stitches from 1C to 5B and 3C to 7B. Repeat these two steps to fill the required area.

Old Wheatsheaf 1 ·········· Level ··········· Advanced ··········· Uses ············ In single row as border; filling for large areas ········· Method ········· Sheaf filling variation with contrast interlacing ······· Materials ······· Single canvas; any thread in two contrasting colours

1 2 3 4 5 6 7

Pull thread tightly to bunch upright stitches together

2

A B

D E F G H

J

1 2 3 4 5 6 7

A B C D

1 Start at top left. Work four upright stitches from 7A to 1A, 7B to

1B, 7C to 1C, and 7D to 1D. Bring the needle up behind the stitches at 4B and insert it at 4C to make a tie stitch (see p.20). Start the next sheaf at 7D to 1D. Work the following rows directly below the first.

2 Using the second thread, bring the needle up at 3A. Slide it downwards under the tie stitch, and insert at 5A. Come up at 3D, pass the needle under the tie stitch again, and take it down at 5D. Lace each sheaf in the same way.

Work interlacing in contrasting colour

154

Loop e d an d Tie d Ne e d l e p o in t S t it c h e s

Tied Gobelin 2 1

A

C

D

E

1 2 3 4 5 6 7 8

1 2 3 4

····· Other Names ····· Knotted stitch

5 6

·········· Level ··········· Intermediate ··········· Uses ············ Filling with ridged texture ········· Method ········· Horizontal rows of interlocking tied diagonal stitches ······· Materials ······· Single canvas; any thread

C D E

1 Start at top right. Work a long diagonal stitch from 6D to 1E, crossed by a short stitch from 4E to 3D. Make the next pair of stitches from 6C to 1D and 3C to 4D, and continue working to the left.

Work both upright stitches in same holes

1 ··········· Uses ············ Textured, ridged filling or background ········· Method ········· Pairs of tied upright stitches worked in horizontal rows ······· Materials ······· Single canvas; any thread

Insert needle into hole at base of tie stitch

2 The next row is stitched in the opposite direction. Work the first two stitches from 9A to 4B and 7B to 6A and repeat to the end of the row. Repeat these two rows to fill the required area.

French

·········· Level ··········· Intermediate

Work short stitch across centre of long stitch

A B C

1 2 3 4 5 6 7

2

A

B

C

D

E

F

1 2 3 4 5 6 7 8 9 10

1 Start at top left. Make an upright stitch from 7B to 1B held down by a tie stitch (see p.20) from 4B to 4A. Work a second upright stitch from 7B to 1B and anchor it with a tie stitch from 4C to 4B. Continue making pairs of tied stitches to the end of the row. 2 Work the next row in the opposite direction, starting with an upright stitch from 10E to 4E and a tie stitch from 7E to 7F. Repeat these two rows to continue.

Work second row into spaces between first pairs of stitches

Loop e d and Tie d Ne e dl e p oint Stitche s

155

Pineapple 1

Work upright stitches in a multiple of five

1 2 3 4 5

·········· Level ··········· Advanced A B C D

··········· Uses ············ Two-coloured geometric filling for large areas ········· Method ········· Tied cross stitches worked over upright Gobelin stitch ······· Materials ······· Single canvas; any thread in two colours

F

2

Work tie stitch over cross

1

G H I

2 3 4 5

1 Start at top left and work a row of upright

Gobelin stitch (see p.119) starting at 5A to 1A. Using the second thread, make a diagonal stitch from 5A to 1E and come out at 5E.

2 Insert the needle at 1A to complete the cross,

then make a horizontal tie stitch (see p.20) from 3B to 3D. Continue working crosses along the row, then work subsequent rows directly below.

Arrow

A

B

C

D

E

F

H I

Insert needle between upright stitches

2

1

A B C D

1

A

B

C

D

3

1

4

2

5

3 4

·········· Level ··········· Intermediate ··········· Uses ············ Textured filling; in single rows as a border ········· Method ········· Angled variation of sheaf filling, worked in rows ······· Materials ······· Single canvas; any thread

5

Work upright stitches over four threads

1 Starting in the top left corner, work three upright stitches from 5A to 1A, 5B to 1B, and 5C to 1C. Bring the needle out at 3D and slide it under the three stitches from right to left. 2 Take the needle back down at 3D and bring it out at 5C, ready to make the next upright stitch. Repeat steps 1 and 2 to continue, and work the following rows directly below the first.

Pull thread up tightly to draw stitches to right

I n de x

156

Index A Aida cloth, 13 Algerian eye stitch, 31, 102 see also star stitch alternating stem stitch, see cable stitch antique hem stitch, 31, 105 Antwerp edging stitch (knotted blanket stitch), 32, 112 with interlacing, 108 appliqué, 56 arrow stitch, 35, 155 arrowhead stitch, 27, 73 Assisi stitch, see double running stitch Assisi work, 39 attached fly stitch (fishbone stitch), 29, 89

B back stitch, 8, 24, 40 double back stitch, see closed herringbone stitch with needlepoint, 133 outlining shadow stitch, 52 threaded back stitch, 24, 40 backstitched herringbone stitch, 27, 66 back stitch rings, 31, 102 back stitched seeding, see dot stitch back stitch trellis, 8, 30, 92 bands, 6, 39, 86 drawn thread work, 106–107 woven, 13 bargello stitch (Florentine stitch; flame stitch), 33, 121 bars, needleweaving (woven), 32, 110 basket filling stitch, 33, 127 basket stitch, 25, 53 basketweave pattern, 142 basketweave tent stitch (Continental stitch; diagonal tent stitch), 33, 129 bead edging stitch, see rosette chain stitch beaded stitch, see coral stitch beginning to stitch, 18 Berlin stitch, see cross stitch Berlin wools, 6 berry stitch, 28, 80 Binca, 13 blackwork, 39, 74 blanket stitch (open buttenhole stitch), 26, 58

with braided interlacing, 63 knotted blanket stitch, see Antwerp edging stitch blocking needlepoint, 21, 128 Bokhara couching, 90 border stitches, 48–61 chevron, 31, 107 composite, 6269 diamond, 31, 107 Italian, 31, 106 Bosnian stitch, 25, 49 braided interlacing, 63 briar stitch, see feather stitch brick and cross stitch, 29, 85 brick filling, 33, 126 brick stitch (long and short brick stitch), 33, 127 double (double gobelin filling), 33, 126 Brighton stitch, 34, 143 broad chain stitch (reversed chain stitch), 24, 45 broad cross stitch, 34, 142 Broderie Anglaise, 111, 115 bullion knot (caterpillar stitch), 28, 76 butterfly chain stitch, 27, 68 buttonhole eyelet, 32, 115 buttonhole filling stitch (buttonhole shading stitch), 29, 87 buttonhole insertion stitch (buttonhole faggot stitch), 32, 109 buttonhole stitch, 26, 58 closed, 26, 58 laced (threaded), 26, 63 open, see blanket stitch ring picot edge, 114 scalloped edge, 114 up and down, 26, 59 wheel, 28, 82 Byzantine stitch (step stitch), 34, 133

C cable chain stitch, 24, 45 cable stitch (alternating stem stitch; side-to-side stem stitch), 24, 41 canvas, 13 binding edges, 17 mounting, 17 printed, 129, 139 working stitches, 19 canvas stem stitch, 33, 131 cashmere stitch, 34, 132 caterpillar stitch, see bullion knot

centipede stitch, see loop stitch chain stitch (point de chainette; tambour stitch), 8, 24, 44 broad (reversed), 24, 45 butterfly, 27, 68 cable, 24, 45 detached, see link stitch feathered, see chained feather stitch magic (chequered; twocoloured), 26, 64 pendant, see petal stitch raised (raised chain band), 27, 68 rosette (bead edging stitch), 25, 55 Russian, 25, 54 Singalese, 26, 64 square (open; Roman; ladder stitch), 24, 44 threaded, 26, 65 tie stitches, working, 20 twisted, 24, 44 zigzag (Vandyke) 25, 55 chained feather stitch (feathered chain stitch), 26, 61 chalk pencil, 12 charted patterns, 39, 50 needlepoint, 129, 139 chequer stitch, 137 chequered chain stitch, see magic chain stitch chequers, 123, 136, 140 chevron border stitch, 31, 107 chevron stitch: as border stitch, 25, 49 half, 32, 113 needlepoint stitch, 33, 122 raised, 26, 66 Chinese stitch, see Pekinese stitch close Cretan stitch, 89 close fly stitch, 89 closed buttonhole stitch, 26, 58 closed feather stitch, 26, 60 closed herringbone stitch (double back stitch), 25, 52 cloud filling stitch (Mexican stitch) 30, 93 cobbler filling stitch, 30, 100 composite stitches: base stitches, 39, 40, 52 border stitches, 62–69 outline stitches, 38 Continental stitch, see basketweave tent stitch coral stitch (beaded stitch;

knotted stitch; snail trail), 24, 43 single, see feather stitch corded clusters, 32, 110 cordonnet stitch, see whipped running stitch cotton fabrics, 13, 17, 111 cotton threads, 14 couched filling stitch, 29, 91 couching, 7, 24, 42 Bokhara couching, 90 Romanian couching, 29, 90 satin couching (trailing stitch), 42 spiral couching, 29, 90 stitches, 44, 50 tie stitches, working, 20 counted thread work, 13, 47 working stitches, 20 Cretan insertion stitch, 31, 108 Cretan stitch (Cretan filling stitch), 29, 89 close, 89 open 26, 59 crewel stitch, see stem stitch crewel wool, 14 crewel work, 93 cross-corner cushion, 34, 142 cross stitch (Berlin stitch; sampler stitch), 7, 8 border stitch, 25, 50 broad, 34, 142 diagonal, 34, 139 diamond, 34, 140 double, 34, 139 half, 33, 129 long-armed (long-legged; plaited Slav stitch), 25, 51 needlepoint stitch, 34, 139 Russian, see herringbone stitch St George (upright), 27, 73 Smyrna (Leviathan stitch), 34, 140 upright (straight), 34, 140 working, 50 woven, 27, 75 crown stitch, 28, 78 cushion stitch, 8, 34, 136 cross-corner, 43, 142 straight, 33, 123 cut pile stitches, 7, 150, 151 cutwork: reinforcing, 29 stitches, 58, 111–115

D damask stitch, see darning stitch; satin stitch

Inde x

Danish knot, 28, 77 darning in, 18 darning stitch (damask stitch), 29, 85 double, 29, 85 Japanese, 30, 92 detached chain stitch, see link stitch detached wheatear stitch (oxhead stitch; tete-de-boeuf stitch), 28, 81 diagonal cross stitch, 34, 139 diagonal mosaic stitch, see Florence stitch diagonal needlepoint stitches, 20, 21, 128–137 diagonal raised band, 30, 99 diagonal satin filling stitch, 31, 101 diagonal stitch, 34, 133 diagonal tent stitch, see basketweave tent stitch diagonal tweed stitch, 34, 141 diagonal woven band, 27, 69 diamond border stitch, 31, 107 diamond cross stitch, 34, 140 diamond eye stitch, 35, 149 diamond eyelet, outlined, 31, 103 diamond stitch, 33, 124 Scottish, 33, 123 dot stitch (backstitched seeding), 27, 73 double back stitch, see closed herringbone stitch double brick stitch (double gobelin filling), 33, 126 double cross stitch, 34, 139 double darning stitch, 29, 85 double feather stitch (thorn and briar stitch), 26, 61 double gobelin filling, see double brick stitch double herringbone stitch (Indian herringbone stitch), 27, 67 double knot stitch (Old English knot stitch; Palestrina stitch; Smyrna stitch), 24, 43 double Pekinese stitch, see interlacing band double running stitch (Assisi stitch; Holbein stitch), 39 double twill stitch, 32, 121 drawn thread work, 13 fabrics for, 21 needles for, 15 pulling out threads, 21 stitches, 104–107, 110 dressmaker’s pencils and pens, 12

E edge stitch, looped, 32, 113 edges: finishing stitches, 58, 113 114 neatening, 17 ring picot, 32, 114 scalloped, 32, 114 edging stitch: Antwerp (knotted blanket stitch), 32, 112 sailor, 32, 112 edging stitches, 111–115 embroidery hoop, 16 mounting fabric, 17 preparing inner ring, 16 embroidery threads, 14 encroaching gobelin stitch, 33, 130 encroaching satin stitch, 29, 86 ending thread, 18 equipment, 12 ermine stitch, 27, 74 evenweave fabric, 13 for drawn thread work, 21, 104 needles for, 15 eye stitch, 35, 148 diamond, 35, 149 eyelets, 111 buttonhole, 32, 115 outlined diamond, 31, 103 overcast, 32, 115 square, 32, 115

F fabric, 13 preparing, 17 faggot bundles, 31, 108 faggoting, see insertion stitches fan stitch (ray stitch), 35, 149 feather stitch (briar stitch; single coral stitch), 26, 60 chained (feathered chain stitch), 26, 61 closed, 26, 60 double (thorn and briar stitch), 26, 61 single, 36, 58 felt, 13 fern stitch (fern leaf stitch), 8 border stitch, 25, 48 needlepoint stitch, 35, 146 filling stitch, gobelin, 32, 119 filling stitches, 71–93 open/solid, 84–93 powdered/isolated, 72–83 working, 20 finishing off, 21

fir stitch (leaf stitch), 35, 146 fishbone stitch, 35, 145 open, 29, 88 see also attached fly stitch fishnet stitch, see herringbone stitch flame stitch, see bargello stitch flat stitches, 7, 47 flat Vandyke stitch, 25, 56 Florence stitch (diagonal mosaic stitch), 33, 132 Florentine stitch, see bargello stitch flower thread, 14 fly stitch (open loop stitch; Y-stitch), 28, 78 attached (fishbone stitch), 29, 89 close, 89 forbidden stitch, see Pekinese stitch four-legged knot, 28, 77 four-sided stitch, 31, 106 frames, 16 free-standing, 16, 19 mounting techniques, 17 freestyle embroidery, 13, 20 French knot, 15, 27, 76 French stitch, 35, 154

G geometric designs, 50 bands, 39, 84 borders, 67 filling stitches, 85, 86, 92 needlepoint, 118, 123, 125 Ghiordes knot stitch, see Turkey stitch gingham, 13 gobelin filling, 32, 119 double, see double brick stitch gobelin stitch (oblique gobelin; gros point), 33, 130 encroaching, 33, 130 plaited, 35, 144 reversed sloping, 33, 131 tied (knotted stitch), 35, 154 upright (straight), 32, 119 gold thread, 7, 83 Greek stitch, 35, 144 gros point, see gobelin stitch guilloche stitch, 26, 65

H half chevron stitch, 32, 113 half cross stitch, 33, 129 half Rhodes stitch, 35, 147 hand-held fabric, 19 hand sewing, 15, 39

Hardanger fabric, 13 hem stitch: antique, 31, 105 Italian, see Italian border stitch ladder, 31, 105 serpentine (trellis), 31, 105 single, 31, 105 hems, decorative, 111–113 herringbone ladder stitch, see interlacing band herringbone stitch (fishnet stitch; Russian cross stitch), 25, 47, 52 backstitched, 27, 66 closed (double back stitch), 25, 52 double (Indian), 27, 67 mounting fabrics, 17 Holbein stitch, see double running stitch honeycomb filling stitch, 30, 98 hoop frame, see embroidery hoop houndstooth stitch, 35, 153 Hungarian diamond stitch, 32, 120 Hungarian ground stitch, 33, 122 Hungarian stitch, 32, 120

I Indian embroidery, 8, 44, 83 Indian herringbone stitch, see double herringbone stitch insertion stitch, 7, 104, 108–109 buttonhole (buttonhole faggot stitch), 32, 109 Cretan, 31, 108 knotted (knotted faggot stitch), 32, 109 laced (laced faggot stitch), 31, 108 mounting fabric, 21 interlacing, 15 braided, 63 composite border stitches, 62, 63, 65–67 filling stitches, 93 needlepoint, 153 outline stitches, 38, 39, 40 interlacing band (double Pekinese stitch; herringbone ladder stitch), 26, 63 Italian border stitch (Italian hem stitch), 31, 106 Italian hem stitch, see Italian border stitch

157

I n de x

158

J Jacquard stitch, 34, 134 Japanese darning stitch, 30, 92

K knitting stitch, 35, 153 knot stitch, see four-legged knot double (Old English knot stitch; Palestrina stitch; Smyrna stitch), 24, 43 knots, 7, 47 bullion, (caterpillar stitch), 28, 76 Danish, 28, 77 four-legged (knot stitch), 28, 77 French, 27, 76 Palestrina, 28, 79 raised (square boss stitch), 27, 74 knotted blanket stitch, see Antwerp edging stitch knotted insertion stitch (knotted faggot stitch), 32, 109 knotted stitch, see coral stitch; tied gobelin

L laced buttonhole stitch (threaded buttonhole stitch), 26, 63 laced insertion stitch (laced faggot stitch), 31, 108 foundation stitch, 113 lacing: mounting on board, 21 mounting on frame, 17 see also interlacing ladder hem stitch, 31, 105 ladder stitch (step stitch) 8, 26, 57 see also interlacing band; square chain stitch laidwork stitch, 30, 91 lattice bands, 27, 66 lattice filling, 52, 143 lazy daisy stitch, 28, 80 leaf stitch, 29, 88 see also fir stitch left-handed workers, 18 lettering, 38, 40, 44, 50 leviathan stitch, see Smyrna cross stitch double, 34, 141 linen, 13, 16, 111 for drawn thread work, 21 neatening edges, 17 link stitch (detached chain

stitch), 28, 80 long and short brick stitch (brick stitch), 33, 127 long and short stitch, 29, 87 long-armed cross stitch (longlegged; plaited Slav stitch), 25, 51 long stitch triangles, 33, 124 long-tailed daisy stitch, see picot stitch loop stitch (centipede stitch), 25, 56 open, see fly stitch looped edge stitch, 32, 113 looped stitches, 7, 47 needlepoint, 151 working, 19, 20 lost knot method, 18 lozenge stitch, 33, 125

M magic chain stitch (chequered chain stitch; two-coloured chain stitch), 26, 62, 64 metal thread work, 42, 90 threads, 14 Mexican stitch, see cloud filling stitch Milanese stitch, 34, 135 straight, 33, 125 mirrorwork, 83 monograms, 38, 42 Moorish stitch, 34, 135 mosaic filling stitch, 31, 101 mosaic stitch, 34, 136 diagonal, see Florence stitch mounting: finished work, 21, 62 in frame, 17 insertion stitching, 21

N needle threader, 12, 15 needlepoint, 16 beginning to stitch, 18 blocking, 21, 128 cross stitches, 138–147 diagonal stitches, 21, 128, 137 distortion, 21, 118, 128 looped stitches, 150–152 star stitches, 138, 148–149 straight stitches, 118–127 tied and twisted stitches, 150, 153–155 working stitches, 18–20 needles, 15 threading, 15 needleweaving bars (woven bars), 32, 110

O oblique gobelin stitch, see gobelin stitch old English knot stitch, see double knot old wheatsheaf stitch, 35, 153 open buttenhole stitch, see blanket stitch open chain stitch, see square chain stitch open Cretan stitch, 26, 59 open embroidery stitches, 18 open filling stitches, 84–85, 88–89, 91–93 working, 20 open fishbone stitch, 29, 88 open loop stitch, see fly stitch open square stitch, see Paris stitch openwork, 7, 95–115 working stitches, 21 outline stitch, see stem stitch outline stitches, 38–47 outlined diamond eyelet, 31, 103 overcast eyelet, 32, 115 ox-head stitch, see detached wheatear stitch

P Palestrina knot, 28, 79 Palestrina stitch, see double knot stitch Paris stitch (open square stitch), 25, 48 Parisian stitch, 32, 119 with secondary pattern, 119 part stitches, 20 patchwork, 8, 60 pearl cotton threads, 14 pearl stitch, 24, 42 Pekinese stitch (Chinese stitch; forbidden stitch), 26, 63 double, see interlacing band pens and pencils, 12 perle cotton, 54, 73 Persian wool, 14 petal stitch (pendant chain stitch) 25, 54 petit point, see tent stitch picot edge, ring, 32, 114 picot stitch (long-tailed daisy stitch), 28, 80 pictures, embroidered, 6, 7 pineapple stitch, 35, 155 pins, 12 pistil stitch, 27, 76 plainweave fabric, 13, 15 plait stitch (Spanish stitch), 35, 145

plaited gobelin stitch, 35, 144 plaited Slav stitch, see longarmed cross stitch plush finish, 150 point de chainette, see chain stitch Portuguese border stitch, 69 powdered filling stitches, 54, 72–83 working, 20 pressing fabrics, 17, 21 pulled fabric work, 13, 15 stitches, 96–103 pulled wave filling stitch, 30, 97 punch stitch, 30, 99

Q quilted effect, needlepoint, 126 quilting, 38

R raised band, diagonal, 30, 99 raised chain band (raised chain stitch), 27, 68 raised chevron stitch, 26, 66 raised knot, see square boss stitch raised lattice band, 27, 66 ray stitch, see fan stitch reversed chain stitch, see broad chain stitch reversed sloping gobelin stitch, 33, 131 Rhodes stitch, 35, 147 half, 35, 147 ribbed web (ribbed spider web), 28, 82 ribbon, 14 ribbon embroidery, 60 casing stitch, 64 foundation stitch for, 44 ribbon rose, 28, 82 rice stitch (William and Mary stitch), 35, 143 ridged filling stitch, 30, 99 ring picot edge, 32, 114 rings, backstitched, 31, 102 Roman chain, see square chain stitch Romanian couching, 29, 90 rope stitch, 8, 24, 46 rose, ribbon, 28, 82 rosette chain stitch (bead edging stitch), 25, 55 ruler, 12 running stitch, 24, 39 beginning stitching with, 18 double (Assisi stitch; Holbein stitch), 24, 39

Inde x

whipped (cordonnet stitch), 24, 39 Russian chain stitch, 25, 54 Russian cross stitch see herringbone stitch Russian filling stitch, 30, 98 Rya stitch, 35, 150, 151

S sailor edging stitch, 32, 112 St George cross stitch (upright cross stitch), 27, 73 sampler stitch, see cross stitch samplers, 7 satin couching (trailing stitch), 24, 42 satin filling stitch, diagonal, 31, 101 satin stitch (damask stitch), 29, 86 encroaching, 29, 86 surface, 29, 86 scalloped edge, 32, 114 scissors, 12 Scottish diamond stitch, 33, 123 Scottish stitch, 34, 137 scroll frame, 16, 17 scroll stitch (single knotted line stitch), 24, 46 seat covers, 129 serpentine hem stitch (trellis hem stitch), 31, 105 shaded effects, 14, filling stitches, 84, 87, 93 needlepoint, 119, 131 shadow stitch, 25, 52 sheaf filling stitch, 28, 78 sheaf stitch variations, 153, 155 shears, 12 shisha stitch, 8, 28, 83 side-to-side stem stitch, see cable stitch silk taffeta, 13 silk threads, 14 Singalese chain stitch, 26, 62, 64 single coral stitch, see feather stitch single feather stitch, 26, 58 single hem stitch, 31, 105 single knotted line stitch, see scroll stitch single twill stitch, 32, 121 skeins, 15 slipper, embroidered, 7 smocking stitches, 49, 60 Smyrna cross stitch (leviathan stitch), 34, 140 Smyrna stitch, see double knot stitch

snail trail, see coral stitch soft cotton thread, 14 solid filling stitches, 84-87, 90-91 padded edge, 40 working, 20 Sorbello stitch, 28, 79 Spanish stitch, see plait stitch spider webs, 28, 82 spiral couching, 29, 90 split stitch, 24, 40 square boss stitch (raised knot), 27, 74 square chain stitch (ladder stitch; open chain stitch; Roman chain), 24, 44 square eyelet, 32, 115 stabbing technique, 19 star stitch: as filling stitch, 27, 74 in needlepoint (Algerian eye stitch), 35, 148 with central cross, 74 woven, 27, 75 stem filling stitch (stem stitch shading), 29, 87 stem stitch (crewel stitch; outline stitch), 24, 41 alternating stem stitch, see cable stitch canvas stem stitch, 33, 131 rope-like effect, 41 side-to-side stem stitch, see cable stitch stem stitch shading, see stem filling stitch step stitch, 31, 100 see also Byzantine stitch; ladder stitch stitch length, 18 stitch ripper, 12 stitching techniques, 18–21 straight cross, see upright cross stitch straight cushion stitch, 33, 123 straight gobelin stitch, see upright gobelin stitch straight line stitch, see three-sided stitch straight Milanese stitch, 33, 125 straight stitch (stroke stitch), 6, 7, 27, 73 stranded cotton, 14 stretcher frame, 16, 17 striped pattern, needlepoint, 145 striped woven band, 27, 69 stroke stitch, see straight stitch surface satin stitch, 29, 86 sword stitch, 28, 77

T tambour stitch, see chain stitch tape measure, 12 tapestry needles, 15 tapestry wool, 14 tension, 18, 19 tent stitch (petit point) 6, 7, 33, 129 basketweave (diagonal; Continental stitch), 33, 129 trammed, 33, 129 tete-de-boeuf stitch, see detached wheatear stitch thimble, 12 thorn and briar stitch, see double feather stitch thorn stitch, 25, 50 threaded back stitch, 24, 40 threaded buttonhole stitch, see laced buttonhole stitch threaded chain stitch, 26, 65 preparing, 15 threads, 14 working length, 15 three-dimensional effects, 84, 87, 147 three-sided stitch (straight line stitch) 30, 97 ticking, 13 tie stitches, working, 20 tied gobelin stitch (knotted stitch), 35, 154 tied stitches, needlepoint, 150, 153–155 trailing stitch, see satin couching trammed tent stitch, 33, 129 trellis, back stitched, 8, 30, 92 trellis hem stitch, see serpentine hem stitch triangles, long stitch, 33, 124 tulip stitch, 28, 81 Turkey stitch (Ghiordes knot stitch), 7, 35, 150, 151 twill effect, needlepoint, 119 twill stitch, double/single, 32, 121 twisted chain stitch, 24, 44 twisted lattice band, 27, 67 twisted skeins, 14, 15 two-coloured chain stitch see magic chain stitch

U up and down buttonhole stitch, 26, 59 upright cross stitch (straight cross), 34, 140 see also St George cross stitch

upright gobelin stitch (straight gobelin stitch), 32, 119

V Vandyke chain stitch, see zigzag chain stitch Vandyke stitch, flat, 25, 57

W wave filling stitch, 30, 93 pulled, 30, 97 weave, marking, 17 web, ribbed, 28, 82 wheatear stitch, 25, 53 detached (ox-head stitch; tete-de-boeuf stitch), 28, 81 wheel, buttonhole 28, 82 whipped running stitch (cordonnet stitch), 39 white work, 96, 111 William and Mary stitch, see rice stitch window filling stitch, 8, 30, 97 wools, 14 woven band, diagonal, 27, 69 woven bands, linen, 13 woven bars, see needleweaving bars woven cross stitch, 27, 75 woven spider web, 28, 82 woven star stitch, 27, 75

Y Y-stitch, see fly stitch

Z zigzag chain stitch (Vandyke chain), 25, 55 zigzag clusters, 32, 110 zigzag stitch, 25, 51˙

159

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Ac k n owl e dgme n t s

Acknowledgments Author’s acknowledgments No writer can work in isolation, and this book would not have been possible without the joint skills of the art and editorial teams at both Dorling Kindersley and C&B Packaging. I would like to extend my thanks to all the many colleagues and friends who have contributed their experience and commitment over the past year. I am indebted to Samantha Gray, who first suggested my name to the publishers. Nigel Duffield, Mary Lindsay, Sarah Hall, and Cathy Shilling at DK have given me every encouragement, along with their invaluable guidance and enthusiasm, from the outset. Managing editor Kate Yeates has been my mainstay: her dedication and constant good humour have helped me through to the end of the project. Special thanks also to Roger Bristow and Helen Collins at C&B Packaging for their invaluable creative input, to Sam Lloyd for patiently photographing all the many stitch samples and to Heather Dewhurst for editing my text so meticulously. Lis Gunner embroidered my designs for the chapter openers and gave me useful advice about stitching. Debbie Kilby of Anything Left-Handed (Tel: 0208 770 3727) advised me on techniques for left-handed workers. Finally, I must thank my husband Jonathan Hayden-Williams for always being there for me, and my sister Emma Ganderton and father Colin Ganderton for their unfailing support, for which I am ever grateful.

Dorling Kindersley would like to thank the following: DMC Creative World Ltd for supplying the needles, pearl cottons, tapestry yarns, evenweave linen and canvas used to create the step-by-step examples and finished stitch samples. Thanks in particular to Cara Ackerman for all her help. For further information about DMC products contact them at: Pullman Road, Wigston, Leicestershire, LE18 2DY. Tel: 0116 281 1040. Additional assistance Editorial: Nicola Munro Design: Cathy Shilling Administration: Christopher Gordon Additional Photography: (p.12) Andy Crawford, Steve Gorton